Since late last year I have been Co-Chair of the Diversity, Inclusion and Racial Justice Working Group, one of four groups comprising the Preservation Priorities Task Force, a joint effort between the National Trust for Historic Preservation and the National Preservation Partners Network. For most of my years (2006-2015) as a Trustee of the National Trust for Historic Preservation, I was Vice Chair of the Diversity Committee and Diversity Task Force. This is an issue that is of profound importance to heritage conservation, especially in the United States.
Diversity is the need to represent the full heritage of a place for the full complement of its communities. Inclusion is the necessity of insuring that every member of every community has a hand in the decision-making of what gets saved, why it gets saved, and how it gets saved. Racial justice is the need to address an imbalance that the historic preservation field helped foster, beginning in the 19th century and continuing into recent memory.
It made matters worse that we focused historic preservation on architectural history, which was the white-manniest of professions until a week or two ago. Moreover, many of the early preservation organizations in the 1920s, including my own, engaged in cultural heritage preservation of minority cultures without any input or involvement from those cultures. Commemoration of the Other simply reinforced power and hegemony.
In June, James Madison’s Montpelier took it a step further and voted to share power with the descendants of those 3,000 American men, women and children who were enslaved at the sixth president’s sprawling home and plantation. You can read about it here. This is ultimately what it is about. When Juneteenth came to Texas 156 years ago, it was followed quickly by sharecropping, poll taxes, and a penal system designed to return recently emancipated slaves into a state of servitude. It is a testament to human resilience that so many rose above despite a multivalent and violent system designed to prevent them from doing so.
What Montpelier did is key, because the only way to achieve Diversity, Inclusion and Racial Justice is to hand power over. This is hard for any institution, any movement, any society. It is like the challenge I wrote about ten years ago as two of my preservation organizations struggled to figure out how to incorporate the next generation. The answer is simple. You hand them the steering wheel and get out of the way.
It has been very rewarding to make some progress in this arena in San Antonio, especially our recent success in saving the 1921 Woolworth Building on Alamo Plaza. It was listed on the World Monument Watch List 2020 in part due to the “underrepresented narrative” of Civil Rights history. That publicity resulted in our finding out that famed sculptor Richard Hunt ate at the Woolworth lunch counter that day.
Our Coalition for the Woolworth Building has been the subject of several presentations and an upcoming article and this fall the Conservation Society will be honored for its “important contributions to to civil rights history in the City of San Antonio” by the San Antonio Branch NAACP. Here is a recent National Trust blogspot on the Coalition.
It took centuries for us to get to this place, and the need for reckoning, for Truth and Reconciliation, is still apparent. Bexar County Commissioner Tommy Calvert recently made an eloquent and personal plea to look to San Antonio’s Alamo Plaza as a place to begin that process in the U.S.
There is a long way to go for both society and the heritage conservation field, but at least we are facing in the appropriate direction.
It has been raining for what seems like forty days (a quarantine) in San Antonio and those rains became the excuse for an emergency demolition order on the Whitt Printing Building, a part of the Cattleman Square district west of downtown. Its modest Art Deco facade belies its community importance – this was the largest Spanish-language printing house in a city with more of that business than any other in the nation. Founded by Gilberto Whitt, one of many who came here fleeing the 1910 Mexican Revolution, the building has been deteriorating for more than three decades.
The owners requested to remove it from the historic district and to raze it. The Conservation Society opposed both actions, fearing the precedent of “de-designation” and the loss of another building in the near West side where decay and redevelopment sit cheek by jowl. The Historic and Design Review Commission (HDRC) denied both requests, which were set to go to Zoning when an emergency demolition order came out on the Friday before the Memorial Day weekend. They blamed the rain for more roof collapsing (not the 35 years?)
The Conservation Society hired a structural engineer on two hours’ notice who inspected the structure and reported that while the roof and other wooden elements of the building were in bad shape, its massive concrete piers and beams were solid and in no danger of falling. Indeed, unlike most buildings, the concrete frame did not rely on the roof to hold the walls up.
A mass of local preservationists held vigil over the holiday weekend, as demolition equipment stood by. A scheduled Tuesday zoning hearing was continued and an emergency HDRC meeting was held Wednesday night. Amazingly, the HDRC, owners and preservationists all agreed that the structure of the Whitt Building would be saved, its roof and non-original infill walls removed. A save!
But wait, there’s more! Last Friday as I brought our structural engineer over to the Whitt Building, our two videos on the history of the first peaceful and voluntary integration of Woolworth’s and other lunch counters during the 1960 Sit-In movement premiered online! You can see the videos here. On Tuesday morning we went to Bexar County Commmissioner’s Court to receive a proclamation celebrating the 100th anniversary of the Woolworth Building, which opened June 3, 1921.
We got to thank the Commissioner’s Court for their timely contribution of $25m to rehabilitate the Woolworth and Crockett Buildings for the new Alamo museum, including a free exhibit on the lunch counter integration AT THE SITE. Turns out that the Woolworth is the only one of the six surviving lunch counter buildings that retains physical evidence of the serpentine lunch counter!
As if that wasn’t enough for the week, it kept raining and the San Antonio Water System (SAWS) reconsidered a plan that would have run a new sewer line over two conservation easements designed to protect the recharge zone for the Edwards Aquifer. Now if we can only get them to do the same on another chunk of recharge land.
Congratulations to all who helped make these victories possible – there were a whole lot of people pulling in the same direction here and it made a difference!
But wait, there’s more! Just got Texas Supreme Court decision upholding Houston’s preservation ordinance! Happy weekend!
According to the conceptual plan presented in Bexar County Commissioners Court today, not only will the Woolworth Building be repurposed as part of the new Alamo Museum, but there will be a free exhibit about Civil Rights and lunch counter integration in the space where the lunch counter was inside the building! The county is contributing $25M over 5 years to the museum project. The state legislature is going to vote on $50M this week and the major players all seem to be on the same page regarding the new plan. This is amazing news and a real confirmation of the work of the Coalition for the Woolworth Building and the Conservation Society of San Antonio over the last four years. It is also a testament to Bexar County Judge Nelson Wolff, who has been fighting right along side of us this whole time.
When Coalition for the Woolworth Building member Aaronetta Pierce became tri-chair on the Alamo Citizens Advisory Committee and Rebecca Viagran took over on the management committee, we knew there would be a new approach. New Alamo Trust CEO Kate Rogers has also made a great impression. There’s much more emphasis on stakeholder inclusion and telling the full story now. It’s a new day.
It is almost too much to process today. Thanks to our supporters at the World Monuments Fund, and the preservation community throughout the United States and especially the members of the Coalition for the Woolworth Building: Esperanza Peace and Justice Center, San Antonio African American Community Archive and Museum, San Antonio Branch NAACP, Westside Preservation Alliance, San Antonio for Growth on the East Side, Mexican American Civil Rights Institute and all of the individuals who have made this moment possible.
For background, here are a few blogs on the buildings, which we have been fighting to save since 2015.
Also, the first two videos on the unique Civil Rights history of the Woolworth Building are available online here!
SEPTEMBER 2021 UPDATE – Check out this blogpost on the Coalition on the National Trust Leadership Forum Page!
I have been aware of Richard Hunt – the sculptor with more public commissions than any other in U.S. history – for well over 40 years. When I attended the University of Chicago, his flamelike metal sculpture Why? was in Harper Court which I walked past almost daily in the late 70s and early 80s. I liked it – it seemed kind of like a fire, kind of like a hand and it epitomizes the spirit of inquiry there.
I got the chance to spend a lovely lunch with Richard Hunt about 15 years ago at The School of the Art Institute of Chicago when I was doing a presentation on Hubert Ropp, who was Dean of the School when Richard attended in the 1950s. Just recently I noticed that sculptor Preston Jackson, whom I also know from The School of the Art Institute of Chicago, had posted a painting of Richard and he online.
Now, here in San Antonio, as you know from my last blog, we have been waging a campaign to Save The Woolworth Building, not only for its drop-dead gorgeous Chicago Commercial style architecture, but because it was the focus of the only voluntary and peaceful integration of lunch counters during the Sit-In movement of 1960. Following letters sent by Mary Lilian Andrews, NAACP Youth Council Chair, in early March, and a mass meeting of 1,500 held March 13, 1960 at Second Baptist Church, Woolworth’s and 6 other lunch counters quietly and peacefully integrated on Wednesday, March 16, 1960 before any sit-in demonstrations could be held.
Last week, Jon Ott of the International Sculpture Center telephoned me and asked about the Woolworth campaign. I related the recent shift in leadership that seemed to bode well for the building and its role in Civil Rights History. Then he asked me whether we knew of any African-Americans who ate at the Woolworth lunch counter that day and I related the story of the photographer who captured a young black man looking in the window but only found blacks and whites eating together mid-morning when he wandered down to the Kress cafeteria on Houston Street. That story was related here.
Then Jon Ott informed me that Richard Hunt ate at the Woolworth lunch counter on that day, March 16, 1960. I was floored. Then Jon told me the rest of the story. Richard Hunt had graduated from The School of the Art Institute of Chicago in 1957 and gone to Europe on a Traveling Fellowship while preparing for an exhibit at a New York Gallery. In Paris he received his draft notice, was given extra time to report in order to prepare for the New York show, which he missed due to basic training.
Hunt was sent to Brooke Army Medical Center at Fort Sam Houston as a medic but quickly became an army illustrator. Friends with modernist architects O’Neil Ford and Allison Peery, Richard and his wife Betty Scott managed to rent a brand-new home at Fort Sam for NCOs, despite the fact that he was a private and African-American. He and his wife went to the NAACP rally on Sunday, March 13, 1960 at Second Baptist Church when the sit-ins were planned for Thursday, March 17.
When the lunch counters peacefully and voluntarily integrated on Wednesday March 16, Allison Peery and his wife Mimi drove to Fort Sam and brought Richard down to Woolworth’s for lunch. He had a ham sandwich.
Richard Hunt is the first identified African-American we can place at the Woolworth lunch counter that day. By that time, he was sharing the Mill Race Studio – where Gutzon Borglum designed Mount Rushmore, with artist Chester Toney. He had also just returned from Louisiana, where he had his first public sculpture commission at Southern University. He has had some 150 such commissions over his lifetime, more than any other American sculptor. His first was crafted in San Antonio.
Jon Ott has been interviewing Richard Hunt for a year and a half, and he asked Richard why he had never told this story before. In his typical humble manner, he said “I wasn’t a Freedom Rider.” He had an uneventful lunch on the first day of integrated eating at Woolworth’s. But then again, that was the whole point.
Featured photo by Martha Mood courtesy Richard Hunt and Jon Ott.
Aaronetta Pierce, a lion of civic life and civil rights in San Antonio, was named one of the Tri-Chairs of the Alamo Citizens Advisory Committee last week. Shortly thereafter we learned that Council Member Roberto Trevino had been replaced on the management committee for the Alamo by Council Member Rebecca Viagran, a descendent of Tejano Alamo defender Toribio Losoya. Dr. Carey Latimore was also appointed to the Citizens Advisory Committee following his detailed study of Civil Rights around Alamo Plaza, specifically the famed lunch counter integration of 1960 – the first peaceful and voluntary integration of lunch counters in the South during the Sit-In movement.
The Mayor made it clear that the buildings facing the Alamo chapel/shrine – the Crockett, Palace and Woolworth Buildings – are to be saved. This is huge news and a validation of the position taken by the Conservation Society in the fall of 2015. It is also huge for our Coalition for the Woolworth Building, formed in 2018 and including the aforementioned Aaronetta Pierce. The milestones of the Coalition: State Antiquities Landmark status in May, 2019; the release of a plan showing how to repurpose the buildings that same month; a prize-winning ofrenda honoring civil rights leader Mary Lilian Andrews in October 2019 and the listing of the Woolworth Building later that same month as one of only 3 U.S. buildings on the World Monuments Watch List 2020, have now come to fruition. A year ago we held a Donut Day at the Woolworth and then an all-day seminar on the role of Alamo Plaza in Bexar County’s Civil Rights history. We spent the pandemic year continuing to lobby, collecting video testimonials and crafting a series of short videos about the lunch counter integration that are now in production.
The Mayor is also revisiting a few more ill-conceived and unpopular elements of the 2018 plan, including lowering the plaza (which makes the archeologists CRAZY) and permanently closing the streets (which makes the businesspeople CRAZY). San Antonians have heaved a sigh of relief as the Alamo plan enters a new era that will remember the long arc of its history by preserving all of its layers and getting comfortable with the fact that it is in the middle of a city.
And soon we will reveal the story of a young black man who ate lunch at Woolworth’s on March 16, 1960.
Last week the reports that the Alamo had commissioned regarding the three buildings the State purchased in 2015 were finally released more than two years after they were announced. The reports vindicated preservation.
The report from highly respected John G. Waite & Associates, Architects, confirmed what we had expected – the buildings are structurally sound and adaptable to a variety of uses, including a museum. Another report by Trinity University historian Dr. Carey Latimore was commissioned later, after the efforts of the Coalition for the Woolworth Building documented the history of San Antonio’s famous lunch counter integration, which occurred at seven sites on March 16, 1960. As a bonus, the Waite Report also noted that the Woolworth Building was the only one of the five surviving buildings that actually had physical traces of the lunch counter.
A third previously unknown report was designed to specifically counter the Conservation Society’s argument that the photographs taken March 16, 1960 all depicted the Woolworth lunch counter. I dealt with this conflict between documentary and visual evidence ten months ago here.
Just before the release, the Alamo announced the construction of a new exhibition hall at the east end of the existing gardens behind the shrine. The reason for this is that they have a deadline to exhibit Phil Collins’ Alamo collection.
The Conservation Society has been advocating for the re-use of these buildings for over five years, and the release of the reports vindicated our position, a position that also led to State Antiquities Landmark designation for the Woolworth Building, and its landing on the World Monuments Watch List 2020. We had been requesting these reports for over a year and we are glad that they have been finally made public.
NOVEMBER 13 UPDATE
City Council was briefed on the Alamo plan yesterday and there has been a lot of discussion of “unwinding the lease” between the city and the state. Political battles at the state level between GLO Commissioner George P. Bush and Lt. Governor Dan Patrick, the Texas Historical Commission’s denial of the plan to move the 1940 Cenotaph, and the departure of most of the project’s high profile private donors have put the whole project in question.
I vividly remember when many of the early 1930s federal housing projects became eligible for listing on the National Register in the early 1990s. People made fun of the idea that public housing could be historic, but here we are a quarter-century later and it is no longer unusual. Indeed, a decade ago I was historic preservation consultant for the redevelopment and conservation of the Julia Lathrop Homes in Chicago (1937).
Today the National Trust for Historic Preservation released its list of the 11 Most Endangered Landmarks in the United States, and San Antonio’s Alazan-Apache Courts, started in 1939, were at the top of the list. Kudos go to Sarah Zenaida Gould, PhD, who mounted an exhibit on the project over a year ago and has been a vigorous preservationist with the Westside Preservation Alliance, Museo del Westside, Esperanza Peace and Justice Center and the Coalition for the Woolworth Building.
The San Antonio Housing Authority is threatening the demolition of the last of the federal public housing projects in San Antonio. Indeed, they are on a spree, having planned the demolition of the only surviving building from the Victoria Courts complex (1940) just last week.
I get it. The public housing that was a radical upgrade in the 1930s (indoor plumbing) is now behind the times (air-conditioning). Even in our Lathrop Homes project, we could not save all of the buildings. But several other of the 1930s Chicago projects were demolished completely, like the Ida B. Wells Homes and the Jane Addams Homes (except for one building, soon to be the National Public Housing Museum).
Public housing often gets heavily altered over time, but that is why we have been refining the Secretary of the Interior’s Standards specifically in regard to definitions of integrity at sites of cultural significance. (You can see my work on this from 2015 here, and from my 2018 chapter here.) Even though all of these federal housing projects were designed by an A-list of local architects (it was the Great Depression – they needed jobs) their significance is cultural.
The projects reflected the segregated space of the time. The Alazan-Apache Courts were built on the Westside for Mexican-Americans. At the time, the courts were a dramatic contrast with the tiny, tightly-packed houses of the area. Their recognition by the National Trust also points to another historic inequity: preservation and landmarking on San Antonio’s West Side.
This is part of the Rinconcito de Esperanza, which contains several award-winning historic buildings, the modern adobe Mujer Artes center, and the emergent Museo del Westside. It just became the first historic landmark district on the Westside. That is crazy. A large historic district called Buena Vista is being proposed, but historically the West Side has been overlooked.
I hope that this important National designation brings more attention to the history and culture of San Antonio’s Westside. And of course I hope it helps save the Alazan-Apache Courts.
Here are three very nicely designed highrises one after the next. They are the Gibbs Hotel (1909) in a Renaissance/Chicago Commercial style, the Classical 1937 Courthouse and Post Office, and the Deco Gothic verticality of the Emily Morgan hotel (1926). This is in the heart of town just north of the Alamo.
In fact, these three buildings cover the north wall of the fabled mission and fortress. The famous 1836 battle began when Santa Anna successfully stormed the north wall, breaking in roughly between the Courthouse and the Emily Morgan. Commander Lt. Wm. Travis fell but a minute and a half into the battle, also on the north wall, to the left of where the streetlights are in the lower center of the photo.
The chapel, which everyone knows as the Alamo, was the first building preserved by the public west of the Mississippi, in 1883, less than fifty years after the battle. Already this had become the center of town and the large commercial Crockett Block was in place facing the chapel.
The Conservation Society began advocating for the re-use of the Crockett and Woolworth Buildings when the state purchased them nearly five years ago for a new Alamo Museum. This was part of the larger reimagining of the Alamo that began in 2014. Sixteen months ago we presented a concept showing how the buildings could be added onto to make the new museum.
All this is preface to a curious push right now by the Save the Alamo Foundation to garner public support for their Alamo Plan. The most curious aspect of this push is that they don’t have a final design for the plaza. Nor even a preliminary design for the museum. How do you sell that?
Well, they are selling the idea that they will reclaim the footprint of the battlefield/mission walls. A portion of where the west wall was is 10 feet under the Crockett and Woolworth buildings. WHERE IT WAS – these buildings have 15 foot basements so there is NO remnant of the wall.
But let’s go back to the north wall, where all the action happened. Are they planning to take down the Gibbs Hotel and the Courthouse? No.
So what are they selling? An invisible museum? It seems they are selling the idea that the famed 1836 battle will – by itself – attract all sorts of tourists. Calmer heads, like CM Roberto Trevino, are arguing that the 110 years of history before the battle need to be interpreted as well. After all, it is the mission era that made the Alamo part of a World Heritage Site.
The Alamo spent 80 years as a mission, 50 as a fort, and 170 as the commercial heart of a growing city.
The most curious thing of all about the Alamo Plan is not the absence of a design, nor the decision to expose some wall sites rather than others, but the fact that it is driven by an interpretive message that appears to be scripted by a 10-year old boy in 1950.* I visited as a 15-year old and thoroughly enjoyed the tales of heroism and sacrifice. But that is a small demographic.
The 1836 battle is just the starting point for a much richer tale with stories relevant to all peoples and all times. Why don’t they sell that? The more you include, the more money you make – what am I missing here?
*Thanks to Evan Thompson for this quip.
AUGUST 25 UPDATE:
Well, they have a drawing now! The drawing shows the plaza reconstructed as a reenactment of the 1836 battle, with a second story on the Long Barracks, a rebuilt southwest rampart, and lots of cannon and palisades. The drawing, from their Facebook page and in the news, is rendered from a position above the Crockett and Woolworth Buildings, so no news on the museum.
While still clearly aimed at that 10-year-old, it is the first new illustration of the plan in two years, so that is something. The drawing shows reconstruction of the second story of the Long Barracks as well as an earthen rampart at the southwest corner with cannon. I have dealt with the folly of reconstruction in the digital age previously. The drawing also shows lots of living history reenactors, making the whole thing a curiously large investment in a moribund industry.
In a month the Texas Historical Commission will make a decision about moving the Cenotaph, which is a publicly funded portion of the project. No news yet on the museum or other privately funded projects.
FUN FACT: The reason Clara Driscoll insisted on taking down the second story of the Long Barracks in 1913 was that it dominated the plaza and overshadowed the shrine – the same argument for moving the Cenotaph today! So they move the Cenotaph and then overwhelm the Chapel with a reconstructed second story of the Long Barracks???
FUN FACT: Do you know that in 1997 when it closed, the proposal was to turn the Woolworth Building into an aviation museum? True!
“Tradition is not worshiping the ashes but preserving the fire.” Mahler
I never mastered German (Ich versuche immer noch) but I always liked the German word for landmark Denkmal because it sounded like a contraction of “Think a minute” or “Think once” and I thought that is what a good landmark did, it made you think about some element of the past and wonder why it was here in the present.
If you want more German words for landmarks, check out my “Monuments, Memorials and Erasure” blog from 2017, written during the last bout of iconoclasm. Here we are again. In response to the murder of George Floyd in Minneapolis, hundreds of thousands of people on six continents have protested in the streets against systemic racism, police brutality and the legacy of disenfranchisement.
These protests have defaced or destroyed memorials perceived as celebrating racist hegemony. Indeed, many of them did. Confederate monuments erected a generation or more after the end of the Confederacy were an attempt to solidify Jim Crow. In Bristol, England, they chucked the statue of a slaver into the ocean, and in Richmond at least four Confederate statues have been pulled down by protestors, many after the Governor’s decision to remove the massive 1895 statue of Robert E. Lee, although that is held up in court right now.
Lee never wanted statues or memorial to what became known as “The Lost Cause” and was dead a quarter-century before his image went up in Richmond.
The National Trust for Historic Preservation came out with a stronger statement than it did during the 2017 iconoclasm, while still leaving the door open to local communities who decide to contextualize their monuments rather than remove them. In any case, they were clear that any symbol or statue designed to stigmatize or terrorize any segment of the population should go. Duh.
That doesn’t stop those uncomfortable with the iconoclasm from driveling out the “you can’t erase history” pablum, as if history texts would somehow vanish with the statues. Besides, in almost every case the statue is to be preserved in a history museum, not valorizing public space.
Iconoclasm exists across human societies. Buddhist icons scratched out in Angkor for Hindu ones, Jain and Hindu temples smashed to create mosques in the Deccan, and of course the anti-idolatry of Mao’s Red Guards. Heck, even the Orthodox Christians who do icons better than anyone have had periods of iconoclasm in their history.
My friend Joseph McGill of the Slave Dwelling Project, who has dedicated his life to Black Lives past and present, tends to support keeping monuments and contextualizing them. He worries about the “slippery slope” between tearing down some to tearing down all statues.
The momentum right now has gone from Confederate to Union and plenty of other statues as well, from Francis Scott Key to Teddy Roosevelt to U.S. Grant, Cervantes, Christopher Columbus and even Mount Rushmore. In fact, even the great Augustus St. Gaudens memorial to the 54th Massachusetts (Black Union Soldiers) got tagged in Boston Common because when people are rioting, ALL statues are The Man.
Christopher Columbus just went down here in San Antonio. Only a couple years older than me, the statue was put up in the late 1950s, and it reminds me of the various statues in public parks in Chicago. These were often placed by various ethnic associations to mark their neighborhood space through the media of national heroes.
Chicago’s Humboldt Park had, in addition to Baron von Humboldt and Fritz Reiner for the Germans, Leif Ericson for the Norwegians and a Miner holding his daughter for the working class in general. The park previously had Thaddeus Koszciusko, but the Poles moved him out to Solidarity Drive on the lakefront in 1980, because by then the neighborhood was Puerto Rican. The Puerto Ricans in turn tried to erect a statue of Pedro Albizu Campos but the park rejected it because Albizu Campos had advocated violence against the government (less successfully than the Confederacy) He ended up across the street on private land.
We don’t write history with statues, but we do write power relationships with them. The examples in Humboldt Park show how immigrant groups asserted their presence and power. Robert E. Lee in Richmond demonstrated how those in power intimidated a portion of the population.
Preservation is a process that treats each site based on its individual significance. This is why Joe McGill calls for contextualization and this is why the National Trust leaves the final decision to the individual place. We have a recently installed statue of Theodore Roosevelt in San Antonio but they are removing one in New York because it is a very different statue that is clearly problematic. There are statues of people we actually might want to valorize (like Lincoln) that produce a cringe because of the racist way they were composed a century or more ago.
Everyone keeps asking me for a simple answer. Are they going to tear down all the statues of Washington and Jefferson because they were enslavers? No, but that is the wrong question. That is a reductio ad absurdum betraying a fear of understanding our history in a new way.
The questions are simply: Who is this in public space? Why and when was it put here? What does it mean to this community today?
And perhaps you might also ask: How comfortable are we with this as a Denkmal, Mahnmal, Ehrenmal or Gedenkstätte?
UPDATE July 8, 2020
Lonnie Bunch III, Secretary of the Smithsonian, said it best:
“What is crucially important about this is that removing statues is not about erasing history. Removing statues in many ways is about finding a more accurate history, a history that is more in keeping with the best scholarship we have out there. So for me, it is about making sure we don’t forget what those statues symbolize. It’s about pruning them, removing some, contextualizing others and recognizing that there is nothing wrong with a country recognizing that its identity is evolving over time.”
JULY 24 update: Chicago just removed two Columbus statues on the same day!
The ongoing San Pedro Creek Cultural Park project has already added a lot to San Antonio, with marvelous public artworks, a pleasant walking path, and lovely plantings, all in the name of flood control.
Last week I participated in a panel discussing a very exciting archaeological discovery – the foundations of an 1875 African Methodist Episcopal Church just across from the Alameda Theater.
The design team had know of the site of the church and planned to interpret it, but they did not expect to find the full 40 by 60 foot foundation of the building, and the original 1875 cornerstone. According to newspapers, a “time capsule” celebrating the event was put into the cornerstone!
I participated in the focus group organized by the San Antonio River Authority because the original design for this section created a semicircular amphitheatre stepping down 6 feet from Camaron Street to the creek. This would eliminate all but the front fourth of the foundation, hence the need for the focus group. We are pushing for more.
In a time when people are marching to redress the injustices done to African-Americans then and now, it is more pressing that we save and interpret this significant historic cultural site in San Antonio. As Everett Fly has said, San Antonio does not have a strong record of preserving African-American history. This remains true in our ongoing efforts to save the Woolworth Building.
The AME Church site is a shining opportunity to conserve and commemorate a vital but underrepresented aspect of San Antonio’s cultural inheritance.