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“Rumors Of War” Arrives In Richmond

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The statue by artist Kehinde Wiley was unveiled yesterday in its permanent home at the Virginia Museum of Fine Arts.

Kehinde Wiley unveiled his “Rumors of War” statue on the lawn of the Virginia Museum of Fine Arts Tuesday afternoon. The statue, which depicts a young black man in streetwear riding a horse, was first unveiled in New York City’s Times Square in September.

Wiley was inspired to create the statue after visiting Richmond years ago and seeing the Confederate monuments around the city. It is modeled after the J.E.B. Stuart monument that stands at the intersection of Monument Ave. and Lombardy St. in Richmond. It is 27 feet tall — one foot taller than the Stuart statue. “Rumors of War” will now be a permanent fixture on the lawn of the VMFA, just blocks from the Confederate statues that dominate Monument Avenue. 

A massive crowd was on hand to view the unveiling. Governor Ralph Northam, Richmond Mayor Levar Stoney, and Wiley all spoke prior to the statue being revealed. At the moment of its removal, a tarp concealing the 29-foot statue became stuck on the figure’s hair, but a Richmond firefighter was able to remove the tarp, revealing the full statue.

RVA Magazine was on hand to view the event — here are some images of what took place:

Lots of Richmonders came out to see the statue’s unveiling. (Photo by Jimmy O’Keefe)
Hundreds of people came out for their first chance to see “Rumors Of War” in its new home. (Photo by Jimmy O’Keefe)
Richmond Mayor Levar Stoney addresses the crowd. (Photo by Jimmy O’Keefe)
Governor Ralph Northam speaks. (Photo by Jimmy O’Keefe)
Artist Kehinde Wiley introduces his creation. (Photo by Jimmy O’Keefe)
The time for the unveiling has arrived. (Photo by Jimmy O’Keefe)
At the last moment, the tarp snags on the figure’s hair. (Photo by Jimmy O’Keefe)
Finally, after assistance from a firefighter whose ladder you can see in this shot, “Rumors Of War” was unveiled. (Photo by Jimmy O’Keefe)
Thrilled onlookers captured the moment on their cellphones. (Photo by Jimmy O’Keefe)

Top Photo by Jimmy O’Keefe. Additional reporting by Marilyn Drew Necci.

Images Of American Emptiness: Edward Hopper’s Hotels

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Edward Hopper captured the alienation of 20th century America in his paintings of hotels, currently on display in an in-depth retrospective at the Virginia Museum of Fine Arts.

The exciting new show Edward Hopper and the American Hotel opened October 26th at the VMFA, its only East Coast venue. Despite long being an established part of the American artistic canon, and having portrayed hotels and motels for much of his life, strangely this is the first major retrospective of Edward Hopper’s work focusing on this subject.

Although many know Hopper chiefly by his painting “Nighthawks,” his quintessential image of loneliness and alienation, depicting a diner late at night, much of his best work was created with an eye on hotels and motels across the nation. This new exhibition gives us an illuminating view of his career with a focus on his favorite subject matter, and broadens our understanding of a painter now considered one of the great American artists.

We are first introduced to Hopper through his covers for the magazines Hotel Management and Tavern Topics, along with a self portrait of the young artist. The exhibition then proceeds roughly chronologically through his career. At the entrance is a huge photographic image of the artist — the constant invisible presence in his mature body of work, where he never willingly shows his face. It is fitting that he looms over us as we enter the exhibit.

“Western Motel,” Edward Hopper, 1957 (Via VMFA)

We catch sight of the man himself again in a photo by Berenice Abbott, where he sits scowling beside his etching press. According to his wife Josephine “Jo” Nivison Hopper, Abbott “was taking up the whole morning, and using the studio of a very distinguished person,” as she put it, “as slowly as possible.”

Along with other photos by Abbott, known for her photographs of New York architecture and important artists and writers of her time, the thoughtful inclusion of a variety of other artists leads one to speculate how Hopper has influenced American art. The photographers Cindy Sherman and Gregory Crewdson, to name a few notable examples, call attention to the way the setting of the hotel room functions as a stage. In some sense, every painter “stages” their paintings, but unlike Hopper, most do not call attention to that fact.

A vital recurring motif on these stages is the window. In Hopper’s strange and familiar world, the window is just as often a barrier as it is a threshold, as in the empty black eyes of the solitary woman of “Morning Sun.” In the final image we are left with before exiting the exhibition, “Hotel by a Railroad,” a man looks out the window upon a wall — and another window, which, covered by a curtain, likewise functions as a wall. Meanwhile a woman in a nightdress sits reading in a chair nearby. Although they are staged only a few feet apart from one another, the two figures appear deeply solitary. Despite the voyeurism evident in much of his work, as much remains hidden as is revealed.

“Hotel By A Railroad,” Edward Hopper, 1952 (Via WikiArt)

Some of what is on display here also reminds us of what is absent from Hopper’s oeuvre. The inclusion of Reginald Marsh’s “Belmont House,” for example, helps to highlight the overwhelming whiteness of Hopper’s world. It is worth remembering that most of these hotel spaces were segregated at the time. “Belmont House” is also interesting in its portrayal of social life, in stark contrast with Hopper’s lonely figures. These elements drive home the fact that, although these paintings seem to function as empty stages, they are far from neutral ground, and are certainly not universal. 

We are also invited to contemplate the constant presence of Hopper’s wife Jo during much of his travels, showing us that he was not precisely the solitary figure wandering the American landscape that his paintings might have us believe. Part of the exhibition focuses on their travels through Mexico, and three of Nivison’s diaries are on display as well. During their trips together in the 1940’s and 50’s, she was an avid chronicler of their experiences. This was a time when the hospitality business was booming, with over 59% of those who traveled overnight by car staying motels. 

In any case, one need not even be familiar with the image of the hotel room at all to identify its “American-ness.” One thing that characterizes our nation is our great (apparently) empty spaces, as in these hotel rooms — or perhaps on long stretches of highway, along which we can experience, as one critic put it in his description of Hopper’s painting “Rooms for Tourists,” the “strange clarity of something seen for an instant by a passing driver.”

“Hotel Lobby,” Edward Hopper, 1943 (via VMFA/Facebook)

Overall, in Edward Hopper and the American Motel, we are taken on a fascinating journey through Hopper’s career and the culture of American hotels and motels during his lifetime. The hotel is identified as a site where Hopper created some of his finest work, as well as a place where people from all over America came together without seeing one another.

Top Image: “Morning Sun,” Edward Hopper, 1952 (Via EdwardHopper.net)

Virginia Is For Queer Lovers, Too!

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Our 2019 Fall Pride Guide, in collaboration with VA Pride, is out now! In this article from the magazine, Outwire 757 co-founder Eric Hause gives us a guide to planning your all-day, all-gay getaway with Virginia Tourism’s LGBT Travel Program!

Fifty years ago, a $100-a-week advertising copywriter named Robin McLaughlin at Richmond’s Martin & Woltz Inc. came up with a new travel advertising concept for a client. The client was the Commonwealth of Virginia, and the concept became the slogan “Virginia is for Lovers.” That slogan is now so iconic that it was voted one of the top ten tourism marketing campaigns of all time by Forbes Magazine.

That sort of heady success, however, hasn’t diminished the power of its message of love over those 50 years, and in 2016, our purple-ish state stepped into the modern age by adding a new component to that message: “Virginia is for LGBT Lovers.”

That year, Virginia Governor Terry McAuliffe’s LGBT Tourism Task Force and the Virginia Tourism Corporation publicly acknowledged the economic impact of LGBTQ travelers, and welcomed us to experience the Commonwealth.

There was some kind of kismet at work here. After all, in 1969 — the same year that Robin Mclaughlin came up with the Virginia slogan — the Stonewall Riots launched the Gay Rights movement. Back in those days, the LGBTQ community was still on the fringes of society. While Virginia’s queer population could gather safely at a smattering of bars and other gay-owned businesses, the Commonwealth, to say the least, was not known as a welcoming destination.

Godfrey’s is a restaurant and nightclub in Richmond that features premiere drag shows. Photo via Virginia Tourism Corporation

That’s all changed. Today’s queer road warriors can find hundreds of self-designated LGBTQ-friendly travel businesses and events in all corners of the Commonwealth. Virginia Tourism Corporation’s Director of Business Development, Wirt Confroy, is the man tasked with putting all the pieces together. He’s worked tirelessly with Tourism’s IT department, businesses, destinations, and event planners to catalogue and present them on the State’s tourism website.

When asked about what the program means to him, Confroy said, “It’s simple. LGBT visitors to Virginia now have access to queer-friendly places and experiences. They have a resource that helps them find the destinations, events, tractions and services that welcome them the most.”

So it is with the progressive efforts of many in mind that we present you with our Fall Queer Travel Guide to the Commonwealth. With Virginia Tourism’s help, we’ve carefully curated travel itineraries built around special events this autumn in three destinations: the Shenandoah Valley, the Eastern Shore, and Richmond. All you need do is gas up the automobile, get a few friends together, and hit the road for your big queer fall vacation in Virginia!

Shenandoah National Park is a beautiful, historic national treasure which includes the scenic 105-mile long Skyline Drive – a designated National Scenic Byway. Photo via Virginia Tourism Corporation

Head for the Hills: A Mountain Getaway

When you think of autumn travel in Virginia, one of the first destinations that comes to mind is Skyline Drive in the Shenandoah Valley. No doubt, leaf-peeping on a crystal clear brisk Blue Ridge day is a timeless exercise. As an extra bonus for queer folk, the Shenandoah is home to many friendly and exciting attractions, events, restaurants, and lodging.

Plan this year’s mountain getaway around the Page County Heritage Festival, the weekend of October 12- 13 in Luray. This year marks the 50th anniversary of the Festival, and it’s a true slice of small-town farm life with a big-city progressive attitude. Highlights include live entertainment, Shenandoah Valley craftsmen and artisans, a delightful antique farm equipment show, and food. Oh, the food!

After the festival, head into the town of Luray for some exploring. Roadsnacks.com ranked the town as the 8th Gayest Place in Virginia for 2019 based on the percentage of same-sex households, so you’re bound to make some new friends.

The town itself is centered around a beautiful Historic District, but the famous Luray Caverns are the area’s top visitor attraction. This U.S. Natural Landmark holds the largest and most popular caverns in Eastern America. From well-lighted paved walkways, explore cathedral-sized rooms with ceilings 10 stories high, filled with towering stone columns and crystal-clear pools.

Luray Caverns, eastern America’s largest and most popular caverns. Photo via Virginia Tourism Corporation

If you’re more of a car warrior, take a ride on the nearby Blue Ridge Whiskey Wine Loop, a compact wine-tasting route that winds through the Northern Shenandoah valley. Recommended by Wine Enthusiast Magazine, the Loop features seven wineries, a whiskey distillery, antiques, dining, and the gorgeous natural scenery of the Shenandoah National Park.

You can hop off the Loop and onto Skyline Drive at several spots, and it’s worth the detour. Mid-October is prime leaf season, and the parkway has many overlooks with as many eye-popping photo ops as you can stand along its 105-mile length.

Where to Stay: For LGBTQ-friendly lodging in Luray, check out Piney Hill Bed & Breakfast and Cottages. Comprised of two private cottages and three guest rooms in the main house (a renovated 1800s farm house), the B&B is gay-owned and operated since 2000. It is also consistently ranked as the top inn in Luray each year.

The nearby Shadow Mountain Escape is billed as a romantic couple’s escape, and features modern and authentic European timber cottages adjacent to the Shenandoah National Park. Shadow Mountain is recommended as a Best place To Stay by Wine Enthusiast Magazine, and both properties are located on the Blue Ridge Whiskey Wine Loop.

The Inn at Little Washington is one of America’s finest restaurants and country inns. Photo via Virginia Tourism Corporation

Where to Eat and Drink: While exploring Skyline Drive, satisfy your appetite at Skyland’s Pollock Dining Room. Located right off Skyline Drive near Luray, Pollock’s specializes in Blue Ridge specialties made with farm-to-fork ingredients and served with incredible views of the Shenandoah Valley.

In the mood for a true special-occasion dining experience? Make a reservation at the Inn at Little Washington. The 2019 Michelin Guide awarded The Inn three stars, the only restaurant in the Northern Virginia region to receive the honor.

Just a few miles away, you’ll find a completely different dining experience at The Edinburg Mill Restaurant. Located in an 1848 Virginia Historical Landmark, the establishment specializes in rustic American style cuisine. And if you’re lucky, you’ll catch them on a day when some kickass local live music is on the calendar.

Chincoteague. Photo via Virginia Tourism Corporation

Take a Shore Break: A Seaside Escape

If autumn by the sea is more your style, turn your attention east to Virginia’s Eastern Shore. It’s probably not the first destination that springs to mind when you think of LGBTQ-friendly travel, but Governor Northam’s home base is a surprisingly progressive place with a thriving queer population, and many LGBTQ-owned and allied businesses. Plus, you can drive the entire length of the Virginia Eastern Shore in about two hours. It’s perfect for a day trip or a weekend getaway with great dining, eclectic antiquing and shopping, and exhilarating activities.

For seafood (and all food) lovers, start your visit at Chincoteague’s 47th Annual Oyster Festival on October 12. Founded to mark the hallowed arrival of oyster season, the event draws visitors from all over the mid-Atlantic. You don’t have to be an oyster lover to find something good to eat! Come enjoy clam fritters, clam chowder, shrimp, hot dogs, hush puppies, Boardwalk fries, and a cold beer.

Get your hands dirty on a boat tour of the waters surrounding Chincoteague with Captain Barry’s Back Bay Cruises Expeditions. But be prepared to get wet. On this cruise, you’ll dig for clams, pull crab pots, and haul in a trawler net to see what delights King Neptune has to offer.

Wild ponies from Chincoteague National Wildlife Refuge on Assateague Island.
Photo via Virginia Tourism Corporation

Run with the wild horses and take a tour with Assateague Explorer’s Pony Express nature tours. You’ll be assured at least a glimpse of the famous equestrian population — or choose to be the captain of your own ship, and drift away on one of Southeast Expeditions’ kayak tours.

If the ocean isn’t for you, you can also be the pilot of your own spacecraft with a visit to the NASA facility at Wallops Island. Check their website for a schedule of rocket launches, and time your visit for a truly unforgettable experience.

Shop ‘til you drop at the hundreds of unique retail opportunities on the Shore. You can spend an entire day exploring the small towns and antique stores, flea markets, farmer’s and fish markets, art galleries, and specialty boutiques located on or just off the main highway.

On April 17th, 2019, the NG-11 Antares rocket launched from the Wallops Island Flight Facility in Wallops Island, Virginia. Photo via Virginia Tourism Corporation

Where to Stay: The charming Garden and Sea Inn is just a few miles from Chincoteague. Transgender-owned and operated, the Inn is actually comprised of one modern home and two historic farmhouses that date back to the 1800s. The Inn is pet-friendly and sits on five gated acres of land, so there’s plenty of room to walk the dog.

If the sound of gentle waves luring you to sleep each night is your groove, Key West Cottages in Chincoteague is your spot. This charming row of modern pastel-hued cottages line the waterfront in the heart of downtown. Each cottage has a full kitchen and waterfront views, and all are within walking distance of the town’s restaurants, shopping, and attractions.

Where to Eat and Drink: When visiting the ocean, you want a taste of the ocean, and the Eastern Shore’s dining scene does not disappoint. The Island House Restaurant in Wachapreague has it all: fresh local seafood, award-winning Eastern Shore crab cakes, and a gorgeous view of Virginia’s barrier islands. Bring your boat! Slips and fuel are available.

Experience dockside dining a la the Keys at Mallards at the Wharf in Onancock. Johnny Mo, the musical chef, serves up his “all crab” crab cakes, famous jalapeño mussels, and mouthwatering filet mignon. You might even catch him strumming his guitar for guests!

Or head south to Cape Charles for a bayfront fine dining experience at Oyster Farm at Kings Creek, a casual oyster/raw bar and cocktail lounge. Flip flops and shorts allowed. Astounding sunsets are always on schedule.

Richmond’s Main Street Station (c 1901) is a historic railroad station, office building and Virginia Welcome Center. Photo via Virginia Tourism Corporation

Make it a Capital Affair: Fall Fun in Richmond

So the rural thing isn’t your cup of iced tea? Head to the Capital City for a totally urban experience. Richmond sometimes takes it on the chin for lacking in the diversity department, but we disagree. For example, in October 2019, two fantastic events celebrate the city’s distinct rainbow hue.

On October 5, come explore your inner Latin diva at the Viva RVA! Hispanic Music Festival. This exciting celebration of Hispanic Heritage Month honors Virginia’s Latinx LGBTQ community. Viva RVA! is a free family-friendly event at Diversity Richmond, and features authentic Hispanic music, food, dancing, and live music.

The Richmond Folk Festival on downtown Richmond’s waterfront is the following weekend, on October 11-13. The festival presents the very finest traditional musical artists from across the nation, with 25 performances ranging from bluegrass and Cajun to Indian and African music. Don’t forget to head over to the Festival Marketplace, and shop authentic crafts from over 20 international artisans.

Festivals aren’t the only way to taste the Richmond rainbow. The Virginia Museum of History & Culture does a great job of cataloguing America’s diverse past by interpreting the unparalleled story of Virginia. In fact, their signature exhibition The Story of Virginia recently added an LGBTQ chapter to the 16,000 years of Virginia history it covers.

With a collection of art that spans more than 5,000 years, plus a wide array of special exhibitions, the Virginia Museum of Fine Arts is recognized as one of the top comprehensive art museums in the United States. Photo via Virginia Tourism Corporation

While we’re on the museum tour, a visit to the nearby Virginia Museum of Fine Arts is a must. But be prepared: there’s a lot to see, and you’ll want to see it all. In fact, The Wall Street Journal recently declared the Museum a two-day affair. With over 5,000 years of art from around the world, take your time to explore exhibitions ranging from Fabergé and Russian Decorative Arts to their most recent addition, Edward Hopper and the American Hotel.

If you still have the strength, head over to Carytown for some of the most eclectic shopping and dining in RVA. The heart of Richmond’s gayborhood is only one street long, but you’ll be surprised at the variety of shops, boutiques, restaurants, and food stores in this nine-block shopping area. Don’t forget to check the schedule at the Byrd Theatre. In the past, the Byrd has presented LGBTQ programming with icons such as John Waters and their popular MonGays Movie Festival during Pride month.

Quirk Hotel is in an ideal location in the heart of downtown Richmond’s dynamic arts and design district, surrounded by small galleries, unique boutiques, inspiring architectures and an explosive culinary scene. Photo via Virginia Tourism Corporation

Where To Stay: The Quirk Hotel in downtown Richmond lives up to its name. With its original artwork, eclectic design sensibility, and location in the middle of downtown Richmond’s Arts District, it is indeed out of the ordinary. Voted by US News and World Report as one of the country’s top hotels for 2019, Quirk is an experience that will please even the most jaded traveler.

For a more traditional Richmond experience, stay at the Linden Row Inn. This National Register hotel is comprised of seven row houses, built in the mid-1800s and meticulously restored. Guest rooms are furnished with antiques from the middle and late 1800s. Trivia alert: Edgar Allan Poe spent his childhood playing in the hotel’s garden courtyard.

Where To Eat and Drink: We have one word for you, and it’s French: L’Opossum. Chef David Shannon will tell you that his definition is “tongue-in-cheek faux French presented as delightful whimsy on the menu, but seriously delicious cuisine on the plate.” Gay-owned and operated, L’Opossum was named the Southern Living Magazine’s 2018 Best Restaurant. In the whole South.

If Southern home cooking makes your stomach growl, take a seat at Weezie’s Kitchen in Carytown. This is lip-smacking fare at its most fattening and delicious. Whether it’s breakfast, lunch, or dinner, a meal at Weezie’s is a culinary experience of its own.

Scott’s Addition Foodie and Arts District is the newest and hippest food and drink destination in town, and this National Historic District has become the brewing center of Richmond. Within walking distance, you’ll find breweries and cideries interspersed with hip lofts and eclectic restaurants.

Virginia’s first urban cidery, Blue Bee Cider is located in the heart of Scott’s Addition in Richmond. Photo via Virginia Tourism Corporation

If you’re looking for a superb drag brunch, Godfrey’s is the queen. It’s home to Richmond’s most famous drag brunch, with two seatings on Saturday and Sunday. Godfrey’s also doubles as a mixed bar in the evenings and hosts special events most nights.

And if you’re craving a little socializing with your people, Babes of Carytown and Barcode are two of the best queer nightlife spots in town.

Visit Virginia.org/lgbt for a comprehensive list of Virginia’s LGBT-friendly travel destinations, businesses, and events.

Top Photo Courtesy of Virginia Tourism Corporation

Kehinde Wiley Sculpture Unveiled in NYC, Comes to VMFA in December

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The statue, entitled “Rumors Of War,” is African American artist Kehinde Wiley’s response to the Confederate monuments in Richmond and throughout the South.

Artist Kehinde Wiley’s monumental statue, “Rumors of War,” was unveiled in Times Square on Friday to an estimated 350 attendees. The statue is Wiley’s response to the Confederate sculptures scattered throughout the South, especially in Richmond, Virginia.

“This is his first attempt at a monumental sculpture, and I’d have to say he pretty much hit it out of the park,” Virginia Museum of Fine Arts Director Alex Nyerges said.

The statue before its unveiling. (Photo by VCU CNS)

The statue depicts a young African American man wearing street clothes atop a rearing horse. The body language of the subject is triumphant and confident. “Rumors of War” is closely modeled after the statue of Confederate general J.E.B. Stuart found in the center of Stuart Circle along Monument Avenue in Richmond.

According to Sean Kelly Gallery founder Sean Kelly, “Rumors of War” is 27 feet tall — one foot taller than the statue of Stuart. The New York-based art gallery represents Wiley and other established artists. It co-sponsored the unveiling along with the VMFA and the Times Square Alliance.

Wiley has become known for paintings depicting African American men and women shown in classical poses. His paintings are inspired by masters from the Renaissance and Rococo eras of art, but with a contemporary and political twist. In 2018 he unveiled the official portrait of President Barack Obama in the Smithsonian National Gallery, garnering worldwide attention.

Media and guests at the unveiling began gathering at 12:30 p.m. in one of the main medians of Times Square. The statue loomed large, draped in a silver cloth. People on their lunch break and other onlookers sat outside a fence surrounding the area, many stopping to ask what was going on. 

 A temporary security fence formed a roughly 500-square-foot border around the statue. 

Kehinde Wiley speaks about “Rumors Of War.” (Photo by VCU CNS)

After comments from Nyerges, Kelly, and Richmond Mayor Levar Stoney, Wiley stepped up to the podium to deliver a short but passionate explanation behind the process of creating “Rumors of War.” 

“Let’s get this party started,” Wiley declared, and the cloth was pulled back revealing the statue to the audience.

The base of the statue was crafted from Wisconsin limestone in Wiley’s New York studio, Kelly said. The bronze used to build the statue was cast in Wiley’s Beijing studio, then shipped in three separate pieces to New York and reassembled.

Wiley came up with the idea to create the statue during the 2016 showing of a retrospective of his work at the VMFA. Nyerges said Wiley approached the museum about collaborating on the project.

“When they approached us the question was, ‘Would you be interested in working with us on a project like this,’ and of course the answer was an instant ‘yes,’” Nyerges said. “Then when Kehinde and Sean came back to us with some visuals and a conceptual of what it looked like, we were blown away.”

The statue has been under construction for almost three years. Kelly said he feels overjoyed to have Wiley’s newest work completed and released.

“The beginning of the journey is absolutely terrifying if you think about what you’re getting yourself into,” Kelly said. “Unveiling it today is like giving birth; it’s super exciting and amazing. There’s nothing but euphoria and joy at this point.”

“Rumors of War” in Times Square (Photo by VCU CNS)

Stoney addressed how “Rumors of War” will fit into the ongoing conversation about the monuments on Monument Avenue. Five other statues honoring Confederates, and one statue in tribute to tennis legend Arthur Ashe, are erected along a 1.5-mile stretch of the city street. In recent years there has been considerable debate about whether to remove the monuments. The mayor established a commission to study and make recommendations on the removal or relocation of the monuments. The panel’s final report called for removal of the Jefferson Davis statue, and the addition of context to the others. 

“Our friends who worked on the Monument Avenue Commission stated that addition has to be part of the recipe for us balancing the scales in Richmond, in terms of the monuments we currently have to the Lost Cause, [the narrative that the Confederacy was justified in its rebellion, minimizing the role slavery played in causing the Civil War], and balancing that with heroes and sheroes from African American culture,” Stoney said.

The statue will be on temporary public display until Dec. 1 and then moved to its permanent home at the VMFA in Richmond. The public can see the statue unveiled for a second time Dec. 10 on the museum’s front lawn along Arthur Ashe Boulevard.

Written by Morgan Edwards, Capital News Service. Top Photo: “Rumors Of War” in Times Square, via VCU CNS

VMFA’s Awaken Takes Visitors On A Path To Enlightenment

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Awaken, presented by the Virginia Museum of Fine Arts, takes visitors on a spiritual journey through the history of Tibetan Buddhism.

Richmond’s very own Virginia Museum of Fine Arts (VMFA) is currently presenting Awaken: A Tibetan Buddhist Journey Toward Enlightenment. This eye-opening exhibit introduces the Tibetan Buddhist religion and displays hundreds of artifacts dating back as far as the ninth century. According to the VMFA, each of the exhibition’s galleries corresponds to one of the stages along a journey toward awakening and self-enlightenment.

Life, death, and enlightenment help encapsulate the exiled religion of Tibetan Buddhists, but for a religion with origins in the seventh century, this is only the tip of the iceberg. The most notable and prominent figure of the religion is the Dalai Lama, who currently lives in exile along with other Tibetan Buddhists. After the occupation of Tibet by a communist Chinese government in 1959, the religion was forced to leave its ancestral home, but nonetheless has continued to practice finding peace, welcoming impermanence, and seeking the meaning behind our existence as human beings.

Mandala of Vajrabhairava, 1650-1750, Tibet, Ngor Monastery, colors on cotton, 16 1/2 x 15 3/4 in. Asian Art Museum of San Francisco, via VMFA

John Henry, a curator at VMFA of the Southeast Asian section, helped curate the Awaken exhibit. Henry said the process of curating the space that you experience in the exhibit was done very deliberately in order to avoid making it a linear display of art. “You have to sort of wind your way through it,” Henry said. “The most fun part of the process was figuring out how to put visual shape and experiential structure to the story that we wanted to tell.”

The way that the exhibit is organized lets visitors go through a journey of awakening and the mandala. A mandala, literally a circle, is an important symbol within Buddhism. Often used as a meditation on impermanence, it is frequently depicted within Buddhist sandpaintings, a symbolically temporary medium. One such painting is visible at the entrance to Awaken.

The exhibit begins in a dark room with a series of mirrors on the walls and a projected video on a loop containing subliminal imagery and sounds. The myriad of noises and video is reflected throughout the space, and throws the visitor into this collection of rapid-fire media. Down a hallway, the journey through the mandala begins.

Luxation 1, 2016, Tsherin Sherpa (Nepalese, born 1968), acrylic on sixteen stretched cotton canvases. Virginia Museum of Fine Arts, Adolph D. and Wilkins C. Williams Fund, 2017.195a-p

There are dozens of wood and bronze sculptures, as well as paintings on silk and cotton. The sounds of monks chanting echoes through the room adorned with paintings and banners, each depicting different deities, their origins, and their story. As you pass through the exhibit, weaving in and out of rooms and spaces, each section has a different color, feeling, and layout.

“The goal was to make the visitor not only a viewer, but a participant,” Henry said. “Really anybody can become a Buddhist and literally awaken. Anyone can become enlightened in this very life.”

By the end of the exhibit, the concept of the full circle of life and death, which the Buddhists believed in and desired to learn about, becomes clearer. The exhibit comes to an end with a large sculpture of Buddha, seemingly floating in a white space, followed by a series of mirrors. This finale speaks to the effort and design that went into the exhibit’s creation.

Truly an immersive experience, Awaken provides history, as well as an opportunity for self-reflection. The idea that anyone can become enlightened or awakened provides hope to those who seek a higher understanding through inward speculation and self-awareness.

Vajrabhairava, 15th century or later, Sino-Tibetan, polychromed wood, 53 1/4 x 50 3/4 x 30 3/4 in. Virginia Museum of Fine Arts, E. Rhodes and Leona B. Carpenter Foundation and Arthur and Margaret Glasgow Fund

Throughout June and July, the VMFA will hold a series of Meditation and Mindfulness sessions led by different practitioners. The next will take place on Wednesday, June 5, with John Taylor, programming coordinator for Initiatives of Change. To learn more about the Meditation and Mindfulness sessions, visit the VMFA’s website.

Awaken will be on display until Sunday, August 18. Admission to the exhibit is $15 for adults and $10 for students with ID. Tickets can be purchased at the VMFA’s website. 

Before the exhibit’s mid-August closing, the Tibetan monks who made the sand mandala at the entrance to the exhibit will return to ritually destroy it on Saturday, August 3 at 11 AM, thereby marking the end of its cycle and emphasizing the Buddhist idea of impermanence.

Top image: The Three Protectors of Tibet, 2008, Tsherin Sherpa (Nepalese, born 1968), ink and colors on cotton, 17 3/4 x 38 5/8 in. Photograph © Asian Art Museum of San Francisco, via VMFA

The VMFA’s ‘Congo Masks’ Exhibit Leaves Out Much-Needed Historical Context

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It was the Congolese people, and their struggle, that shaped the art of the Congo during the colonial period. And it is the context of these people and this struggle that is missing from the exhibit at the VMFA.

In 1876, King Leopold II of Belgium founded a private holding company called the International Association for the Exploration and Civilization of the Congo; it was formed specifically for the purpose of collecting African wealth. Only a few years later, this company founded a colony in the Congo — and by 1885, a Conference of European countries established the Congo Free State under the personal rule of Leopold and his private army.

As colonial ruler of the Congo Free State, Leopold II reigned with brutality and terror.

The invention of the rubber tire and discovery of latex in the Congo fueled Leopold’s savage greed: It is estimated by many that the human cost in terms of lives lost in the quest for rubber was as high as 10 million under Belgian colonial influence.

The Congolese died from violence, disease, and starvation.

Interestingly, the privately owned collection of art currently on display at the Virginia Museum of Fine Arts (VMFA), “Congo Masks: Masterpieces from Central Africa,” dates, for the most part, from the Belgian colonial period, and specifically to the savage rule of Leopold.

Under Leopold, the Congolese fought not only for their lives, but for their identities. A struggle against an oppressor who wanted to take more than just their sovereign wealth: Belgium was a colonizer who wanted to take their languages, their beliefs, and their very selves. It was these people, and this struggle, that shaped the art of the Congo during the colonial period. And it is the context of these people and this struggle that is missing from the exhibit at the VMFA.

When touring the exhibit, an occasional “Community” sign describes the influence of colonialism, but only just: mentions that knowledge of specific artists was lost, or that an entity called the Leopard Cult developed as a form of resistance to colonial power, were the only acknowledgments describing the actual Congolese experience as the context of this art.

The closing sign in the exhibit attempts to describe the “Lives of Masks,” pointing out that during colonialism masks were taken from where they were created by international collectors. While these are hints about the real background and context of these masks, it is a quote from the Belgian owner of the collection in the exhibit catalogue that speaks much louder:

“After 1885, the start of Belgium’s colonial enterprise in the Congo, the government encouraged resident Europeans to investigate traditional Congolese life, art, and ritual ceremonies. As a result, as early as the 1880s, masks were collected by Europeans (some of which are included in this book and exhibition).”

What a disingenuous way to describe the power of the colonist who was responsible for the deaths of millions of people. What is the VMFA thinking?

Perhaps there is more information in the exhibit catalogue if you read past the foreword (it is available in many of the exhibit rooms to read). Yet as soon as you open this book, you see the 11 contributing authors on the cover flaps: Nine white men and two white women. These are experts in Africa — experts in African art — but they are not African. Missing entirely from this exhibit is the voice of the Congolese themselves.

In a post-Wakanda world, we all know the words of Black Panther’s Killmonger to a European museum curator demanding a dialogue about who owns art:  

“How do you think your ancestors got these [pieces]? Do you think they paid a fair price? Or did they take it… like they took everything else?”

This exact conversation about who owns art — especially art collected during colonialism — is one that is happening more often, and rightfully so.

French museums are making progress towards returning art to their countries of origin, following French President Macron’s announcement that “African heritage cannot be the prisoner of European museums.” And the VMFA has been a part of a similar conversation: recently the board voted to return art stolen by Nazis. Even a Congolese art collector, Sindika Dokolo, insists that the responsibility of art museums to decolonize their collections is a need urgent and equivalent to that of repatriating collections looted from Jews during WWII.

And yet, as reported in the RTD, some of the Congo masks at the VMFA are likely worth 8-9 million dollars each. Visitors pay to see the exhibit that includes at least some masks that originated or were collected as early as the 1880s under Leopold’s reign. When does the continued exploitation of Congolese bodies, lives, and creativity enter this conversation?

The VMFA already knows the answer to this. Instead of acknowledging the lived experiences of artists of the Congo, persevering with their craft despite these colonial horrors, the exhibit instead reduces that story to a mere display of art. It is a dangerous precedent to set, when here in our city — and across this country and others — we struggle to reconcile brutal histories of oppression with truth, reconciliation, and justice. The Congo masks are not just masterpieces of art; they are symbols of bodily and spiritual resistance to one of the most brutal colonial invasions of Africa. It is truly disappointing that visitors to this VMFA exhibit will not learn this at the museum. 

*Dr. Amy Rector is a member of the VMFA.