Deconstructing Lawrence’s Struggle Series: Panel 21

Struggle_Panel 21

Jacob Lawrence, Struggle … From the History of the American People, no. 21: Listen, Father! The Americans have not yet defeated us by land; neither are we sure they have done so by water—we therefore wish to remain here and fight our enemy . . .—Tecumseh to the British, Tippecanoe, 1811 (Battle of Tippecanoe, Nov. 7, 1811), 1956. Egg tempera on hardboard, 16 x 12 in. Private Collection of Harvey and Harvey-Ann Ross. © 2015 The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York

This spring, former Phillips curator Beth Turner taught an undergraduate practicum at the University of Virginia focusing on Jacob Lawrence’s Struggle series. In this multi-part blog series, responses from Turner’s students in reference to individual works from the series will be posted each week.

Listen, Father! The Americans have not yet defeated us by land; neither are we sure they have done so by water—we therefore wish to remain here and fight our enemy … –Tecumseh to the British, Teppecanoe, 1811

In this image, Jacob Lawrence illustrates one of many battle scenes between Native Americans, who allied with the British, and American soldiers before and during the War of 1812. The accompanying text is an excerpt from a speech given by Tecumseh to his British ally Major General Henry Proctor. Tecumseh was demanding in his convictions that their united forces should continue to fight instead of withdrawing as Proctor intended to do. Lawrence misrepresented this quote as being spoken at the Battle of Tippecanoe in 1811, and it is unclear whether this decision was made on purpose or not. Leading up to the Battle of Tippecanoe, Tecumseh worked towards uniting the various native tribes into a collective group that could make decisions about the ownership of the remaining native lands. The message is clear in both instances that Tecumseh sought to unite his fellow Native Americans and fight for their right to own western land.

The scene is violent, depicted through the harsh upward stretching lines, arm, and weapons. The chaos of the event is dramatized by lack of back drop and landscape, suggesting that the masses were struggling and intertwined so closely that nothing else was visible. The color pallete is dark, with the Native Americans remaining more vibrant, perhaps to represent the passion of the protagonist. Lawrence wants us to not only see but also feel the persistence of the Native American.

Andrea Goldstein

Playing the Part, Again

Actress Laura C. Harris guest blogs today about revisiting the role of Mandy Bloom for the upcoming staged reading of Time Stands Still at The Phillips Collection. 

Laura Harris_staged reading time stands still_headshot

Laura C. Harris

I have never gotten to play the same part twice, until this reading. I actually avoided the opportunity after I played Mandy in Studio Theatre’s 2012 production of this show, rejecting an audition invitation for the same part in a production that was to happen just a few months after Studio’s production closed. I had a good reason: were I fortunate enough to be cast, I didn’t believe I’d be able to enter the new process with an open mind as to the new possibilities that come with a different team, director, cast, and crew. I didn’t feel that enough time had passed for me to let one production go and therefore be able to freely commit myself to the next.

A few years have passed since then. Over the years I have been able to differentiate what I believe is true about the character, no matter what the setting, from the production itself, and it’s that character knowledge that I’m so looking forward to re-examining in this reading at The Phillips Collection.

Mandy is simple, but not stupid, in spite of what others may initially think. She speaks her mind, but never with negative intent; there is always a positive reason behind her words and actions, even if she doesn’t think through how those words and actions may be received by others. She is unencumbered by sarcasm, ulterior motives or pretense and is instead fiercely earnest in her belief in the power of love,compassion, and happiness. She is fair, and loyal, and funny, and impressively emotionally intelligent.

With this knowledge, I’m excited to get going on this reading for two main reasons:

  1. Mandy is a rare type of person in today’s world. As an actor, it’s a joy to play someone who is so positive and open and to follow that emotional journey, particularly when the character stands in such stark contrast to the others in the play. Experiencing the effect that Mandy has on the other characters, as well as how they mold her over time, is a really fun journey to take.
  2. Having never repeated a role before, I can’t wait to see how the Mandy I know evolves with this group of characters that my Mandy hasn’t met yet. How will she change now that she’s presented with new personalities, moments, and motivations that the other actors and the director provide? And what effect will my own growth as a person over the last 3+ years have on her? What will that teach me about myself?

There’s a lot to look forward to; I can’t wait to get started!

Actress Laura C. Harris

Spotlight on Intersections@5: Vesna Pavlovic

The Phillips celebrates the fifth anniversary of its Intersections contemporary art series with Intersections@5, an exhibition comprising work by 20 of the participating artists. In this blog series, each artist writes about his or her work on view.

Pavlovic_Untitled Swiss

Vesna Pavlovic, Untitled (Swiss Peasant art exhibition, 1957.4), 2014. Archival pigment print, 40 x 50 in. Gift of the artist, 2014. The Phillips Collection, Washington, DC

While exploring The Phillips Collection’s archive, I came across a group of black and white photographs and negatives taken in 1960s. These included images of an exhibition of Giacometti’s sculptural works, Mark Tobey’s paintings, and images of the former Annex façade, among others. The materiality of these large format negatives and their inevitable photographic obsolescence became the starting point of my exploration. I overlaid found analog negatives and scanned them digitally to create new photographs. Physically bringing layers of images together turned negatives opaque and ghostly looking. The study of the archive exposed the sensibility of the collection and aesthetic choices of image and text display in the museum. For me, this was an opportunity to examine photographic representation of specific political and cultural histories of the America’s first museum of modern art.

Vesna Pavlović