How Fiction Becomes Accepted Truth? New Exhibition at the Valentine Deconstructs The ‘Lost Cause’ Myth

In April 2023, I had the opportunity to take a tour with William Martin, the director of the Valentine Museum, and Christina Swanson, the Director of PR and Marketing. They guided me through what appeared to be a significant renovation project within the building. This project involved the installation of a new cataloging system on the upper floor and various improvements aimed at enhancing the building’s overall efficiency. However, what truly ignited their enthusiasm was an upcoming exhibition, which was yet untitled at the time. This exhibition would delve into the role of Richmond artist Edward Valentine, after whose family the museum is named, in the context of the Lost Cause myth and their intricate connection.

Fast forward to last week, I found myself standing in the main exhibition space, accompanied by Christina, Josh, and Kate. We were about to explore the realized exhibition they co-curated, titled Sculpting History at the Valentine Studio: Art, Power, and the ‘Lost Cause’ American Myth, which is set to open to the public this weekend.

For those who may not be familiar with the Valentine Museum, its primary mission is to collect, preserve, and interpret stories unique to Richmond. One narrative that has not received comprehensive exploration until now is the role of the Valentine Family, who established an endowment for the institution and whose members played a significant part in the creation and dissemination of the Lost Cause myth.

For those unfamiliar with that story, it represents a public relations spin on the root cause of the Civil War, portraying it as a matter of states’ rights rather than slavery. It’s worth noting the subtle wordplay, as states’ rights included the right to own slaves. By emphasizing “rights” over “slaves” and suggesting that slavery benefited those enslaved, it provided a positive and heroic narrative for the South to feel good about, considering it lost the Civil War and had to essentially start over on a societal and economic level.

The Lost Cause myth persisted until the events of social unrest in the summer of 2020, which led to the tearing down of Civil War monuments across the country and prompted an intensive re-examination of the entire narrative to understand what, why, and how we got here in the first place.

The current exhibition delves deeply and offers an intriguing perspective. It uses Edward Valentine’s personal racist sentiments, as reflected in his sculptures, as a starting point to examine the creation and propagation of this myth through the lens of five key tools: education, violence, religion, money, politics, and media. Remarkably, these tools continue to shape the playbook for anyone seeking or maintaining power in the modern context.

I encourage anyone with even a passing interest in this subject to explore the exhibit. It sheds light on a facet of Richmond’s history that is often overlooked or deliberately concealed.

Get on the waitlist HERE

Here is my conversation with the co-curators. 

Christina Vida, Elise H. Wright Curator of General Collections, The Valentine and Sculpting History Project Manager: In the fall of 2020, what we gathered from those initial public engagements was that people didn’t know what the Lost Cause was, or they thought it was a newly created concept, given the year 2020.

Josh Epperson, Sculpting History Co-Curator, PWT, LLC: To go back even further, it all started with the idea that we had this building. Edward Valentine, the namesake of the museum, was a sculptor of numerous Confederate monuments. Many of them were housed in the building in the garden. Before the changes you’ll see, when you entered, there were hundreds of busts of white Confederate figures behind plexiglass. There was no context provided. The labels only mentioned he was a sculptor, displaying his tools and process, without addressing the subjects or the narratives conveyed by his artworks. So, in 2020, we decided to revamp the entire exhibition. I conducted focus groups to gather input on how to proceed. We are a museum with a particular collection, and we were eager to make significant changes. During those discussions, we learned that people didn’t want to see these figures displayed without context, much like the monuments around town.

CV: I love it because I think people, aside from not really knowing what the Lost Cause ideology was, even those who were familiar with it as a historical movement saw this 600 square feet of space as an opportunity to delve into that history. It was a chance to connect it to the history of racial oppression in Richmond, not just leaving it in the past but showing its relevance today. We applied some of these lessons to the installation of the Jefferson Davis statue in June 2022. Additionally, we have an ongoing survey in collaboration with the Black History Museum, where people can share their views. It’s been interesting to observe that in 2020, there was a wide range of strong opinions on both sides. In 2022, the intensity level has decreased, but the polarization remains. There’s a smaller middle ground, and many people have firmly fixed opinions. This is why we designed the studio the way we did, so people can come in, ask questions, and explore the content if they wish, leaving with some thoughtful introspection about how the Lost Cause ideology continues to impact them today.

R. Anthony Harris, RVA Magazine: Interesting. Before we go any further, can I get your full name and what you have contributed to this exhibit so I can share that in context.

Dr. Kate Sunderlin, Sculpting History Co-Curator, Independent Scholar: Sure. So I’m Dr. Kate Sunderlin. I’m a co-curator, and I was responsible for exhibition research. I wrote my dissertation on Edward Valentine, his studio, and the early history of the Valentine Museum, making me somewhat of a subject matter expert as well.

RAH: Did you do that through VCU before 2020?

KS: I had just graduated, so I have been working on my dissertation between 2018 and 2023. It naturally fell within that timeframe. I conducted research even before Christina joined the project. I had worked with the previous curator and presented my ideas in 2019 about how the studio could be tastefully updated or reinstalled. Shortly after that, I became involved in this project.

RAH: It’s a good starting point for reeducation or contextualizing what happened in that room and using it for a different purpose.

KS: I found it interesting because I conducted a deep dive into the subject matter. Josh did an excellent job of translating and making it accessible for everyone.

JS: You can find Dr. Kate’s essays on our website, (HERE, HERE, HERE) offering in-depth historical insights into the topics we cover here.

KS: Yes, my research has been applied here as well. It’s been a very cool project.

JS: I’m Josh Epperson and my main title is co-curator. In terms of my contribution, I wrote the text you’ll find on all the labels, with some assistance, of course. I also played a role in shaping the concept of what we’re doing here. I don’t work for the Valentine; I work for myself. My typical process when writing an exhibition is to develop a concept for how to tell a story and determine the parameters. We can tell the story of oppression and racism in numerous ways, so we had to choose a specific approach. Our public engagement played a significant role in shaping our direction. We decided on the concept called “Power Play,” which explores how the myth we’re discussing was so successful. How did it find its way into textbooks and culture? We identified five centers of power – religion, education, politics, money, and media – and examined what role each played in perpetuating this myth. I came up with the concept, but it was a collaborative effort.

RAH: Then you presented that to the Valentine?

JS: All of this was a deep collaboration. I wrote the initial text, perhaps at the beginning of last year, but as a team, we went through it multiple times, discussing every word and refining it. While I wrote the words, they were heavily influenced by the expertise of everyone on the team. I believe in keeping the writing simple and accessible because I don’t come from an academic background. History should be understandable to everyone, not just those with graduate degrees.

RAH: You mentioned the focus groups. Can you elaborate on how you selected participants for these groups?

JS: In 2020, it was impossible not to approach this with a diverse perspective. We all came into this project with that in mind. We had many connections in Richmond, given the Valentine’s long history in the city. We compiled a list of names from everyone on the team, resulting in a lengthy list of potential participants. We aimed for diversity in terms of expertise and backgrounds. You didn’t need a degree to be considered an expert; activists who wanted to see how institutions handled this history were also included. We held three or four focus groups, each with between 10 and 20 participants.

KS: What’s interesting is that we each had different networks, so Josh’s network wasn’t identical to mine or Christina’s, creating a rich mix of perspectives.

JS: Exactly. Our networks allowed us to draw people from various backgrounds and perspectives.

RAH: Did you gather feedback from these focus groups in 2020, or did it continue into later stages of the project?

CV: We engaged with the focus groups in the fall of 2020. Later, in the winter of 2023, when we had some initial draft text, we reconvened with different focus groups. These groups included people who had engaged with us in 2020, attended our programs in 2021 and 2022, and offered additional feedback.

JS: In addition to the text, the design process was also iterative. We presented several design concepts to the public, seeking their input on how to present the story effectively.

RAH: With 2020 and the events that transpired, did it become a priority for the Valentine to reconsider its exhibitions and how it approaches the history of Richmond, particularly black history?

CV: The events of 2020 definitely influenced our approach. Particularly with the studio, we saw it as a real opportunity to tell additional stories and present resistance to the Lost Cause myth. We felt it was a must-do to redefine the space before reopening it to the public. Since the 1980s, our exhibitions have focused on introspection and telling diverse stories. We’re continually updating our long-term exhibition called “This is Richmond, Virginia” to explore the city’s history through key themes rather than a strict chronological approach. Josh’s focus groups led us to experiment with displaying the recumbent Jefferson Davis statue alongside Edward Valentine’s “Recumbent Lee.” It garnered strong emotional responses and showcased how art and history intersect.

JS: It’s essential to address the “stay in your lane” notion. This museum isn’t solely a Black History Museum; it’s the Valentine Museum, named after a white family. Our goal is to use this institution’s objects to tell truthful narratives, not necessarily create a redemptive black story. We have the opportunity to bring truth and reveal the stories behind these objects. We talk about what these individuals did, expose their support for oppression, prejudices, and the ideas they championed. It’s our responsibility as a Richmond legacy history institution to expose and shine a light on our history and that of others. Kate’s research has been invaluable, and her essays on our website help enrich the content.

KS: We’re moving from a studio that initially focused on art history and placing Edward Valentine in an art context, like other artists of his time. Now, we’re telling the story of how artists are active participants in society, discussing the society they lived in and how that society influenced their art. The studio was a space where ideas were debated and expressed through art objects. It’s not just about the art; it’s about the ideas that shaped history, public policies, political connections, and the impact of visiting artists.

RAH: As an artist, was Mr. Valentine part of the propaganda of the Lost Cause?

CV: Absolutely. Let’s go inside, and we’ll delve deeper.

We walk from the main building to the exhibition space. 

CV: Before we enter, let me provide some context. This building you see was an 1830s carriage house, constructed by enslaved labor and associated with the site of enslavement. It served as Edward Valentine’s sculpture studio from 1871 until the 1910s. After his passing in 1930, it was condemned by the city of Richmond to create playing fields for John Marshall High School. The bricks and woodwork were relocated here. Now, let’s proceed inside.

RAH: I visited back in April and saw this space as a white box. I’m curious to see the transformation.

JS: As we move forward, it’s crucial to understand that this was not just an art studio but a space where history was being shaped through art objects. We’re examining how artists played a role in shaping history, ideologies, and the narratives embedded in these objects.

KS: Imagery and ideology are closely intertwined, as they are today.

RAH: As an artist, Mr. Valentine, was he part of the propaganda of the Lost Cause?

CV: Let’s explore this question further.

JS: This exhibition is named “Sculpting History” because it’s not just about art but about how art shapes history. Why create plaster sculptures celebrating the pro-Confederate cause? There’s more than meets the eye, and that’s what we aim to uncover here.

KS: We’re not solely discussing the Lost Cause in Richmond but considering it as an American myth. We want visitors to ponder how fiction becomes an accepted truth, a question that can be applied to various contexts beyond the 19th and 20th centuries.

RAH: That’s a thought-provoking question, especially considering how narratives and biases shape our understanding of history.

KS: Exactly. History is plural, with multiple narratives vying for prominence at any given time. Our goal is to explore and shed light on these narratives.

JS: The central question we begin the exhibition with is, “How does fiction become an accepted truth?” To introduce this topic and provide context for those unfamiliar with the Lost Cause, we outline three key ideas that form its foundation: that the Civil War was fought for slavery, that slavery benefited both the enslaved and enslavers, and that it wasn’t treasonous to secede. These ideas are clear lies. For example, the notion of “states’ rights” was a cover for defending slavery. Slavery was never beneficial to the enslaved; it was profitable for those who benefited from free labor, which extended beyond the South. We know these are lies because the Confederacy’s vice president admitted that slavery was the immediate cause of the Civil War. So, the question becomes, how did these lies become widely accepted? We explore this through various power structures, including media, money, politics, religion, education, and the use of violence.

RAH: These are important questions to address, especially considering how these narratives have persisted over time.

JS: Absolutely. Our goal is to shed light on these narratives and the power dynamics that allowed them to take hold. We explore how narratives are shaped, how media plays a role, how money and politics are intertwined, the influence of religion, education, and even violence.

RAH: It’s fascinating to see how power, media, money, and politics play into shaping these narratives.

JS: The central question, “How does fiction become an accepted truth?” is essential to understanding how these narratives have taken hold. It’s not just about the Lost Cause; it’s about broader contexts and how fiction can become accepted truth in various circumstances. We want visitors to think critically about these dynamics.

RAH: What outcomes are you hoping for with this exhibition? What do you want people to take away from it?

JS: We want people to recognize that these power structures still exist today, and they were manipulated to perpetuate these narratives. By understanding how these systems worked in the past, people can recognize their role in today’s society and use that knowledge to empower themselves. We hope they see their own role in shaping society and become agents for positive change.

KS: I echo Josh’s sentiments. We want people to think critically about their surroundings, the built environment, and the narratives they encounter daily. We hope they engage with these narratives, consider them, and maybe even feel encouraged to think more deeply about them. This exhibition serves as an example of how museums and institutions can engage in this type of storytelling. We aim to inspire critical thinking and empower individuals to shape their world positively.

JS: I believe it’s essential for everyone, not just those in elite academic circles, to engage with these ideas. It’s our collective responsibility as a community to do so.

KS: Absolutely, and we aim to provide tools, examples, evidence, and questions that people can think about, discuss with their families, or even bring to the dinner table. We want to empower individuals to have these conversations and make a difference, even within their small circles.

CV: Accessibility is crucial, both in terms of language and design. We’ve made efforts to ensure that people from various backgrounds can engage with the content easily. We want people to feel empowered to have conversations and ask questions.

JS: I love the idea of accessibility. We’ve made sure that everything in this space is within reach and can be engaged with directly. Conversations are where beliefs really connect, and we hope this space facilitates those conversations.

RAH: Is Edward Valentine’s role in the Lost Cause myth addressed in this exhibition?

KS: We do introduce Edward Valentine and have examples of his work in the exhibition. For instance, we have quotes and objects related to him on each table. His statements reveal his intentions in creating pro-Confederate monuments.

RAH: Was the Valentine Museum founded by Mr. Valentine?

KS: The Valentine Museum was not founded by Mr. Valentine. Edward Valentine became the first president of the institution after his brother’s death when the museum opened in 1898.

RAH: Given the removal of Confederate monuments in recent years, is there a concern that longtime supporters of the museum might find this exhibition offensive?

CV: The Valentine Museum has been open and forthcoming about Edward Valentine’s role in creating Confederate monuments. We’re ready to engage in conversations about this history, and if supporters have concerns, we’d welcome them to discuss it with us.

JS: Living members of the Valentine family have been involved in this project and support the work. They have a say in it, and their support is clear.

KS: The guiding question for us has been, “What are the stakes?” This helps us stay committed to the work and not water it down.

JS: Good leadership, project management, and advocacy have been crucial in maintaining the integrity of this project.

Get on the waitlist HERE