Is art’s role to provoke or placate? What happens when it no longer reflects current societal views? These questions and many more were the subject of hot debate when Victor Arnautoff’s thirteen-panel mural “The Life of Washington” became an object of local controversy, then a media firestorm. On display since San Francisco’s George Washington High School opened in 1936, it offers a view of the Founding Father both celebratory and critical, referencing his involvements in slavery and Native American genocide. (The Iroquois dubbed him “Town Destroyer.”) But some present-day students, parents, and observers found those depictions racially offensive, calling for the work to be removed or destroyed. Would doing so be a “redaction of history,” “identity politics gone off the rails”—or a justified blow to a lingering American “colonized mentality” as well as ongoing “traumatization” of young minds?
Self
Marcus Garvey: Look for me in the Whirlwind uses a wealth of archival film, photographs and documents to uncover the story of this Jamaican immigrant, who between 1916 and 1921 built the largest black mass movement in world history. It explores Garvey’s dramatic successes and failures before his fall into obscurity. Among the film’s most powerful sequences are interviews with people who were part of the Garvey movement decades ago. These interviews communicate the appeal of Garvey’s revolutionary ideas to a generation of African Americans, and reveal how he invested hundreds and thousands of black men and women with a newfound sense of pride.
