Artists Gather to Preserve Black History in Sag Harbor


You also lose important pieces of material culture and historical documents, as it turns out. In addition to deeds, family albums, maps and other documents, the center, an important tintype cache Early Montaukett and African American families living in Eastville. Dr. Some of them were found nailed to repair broken floorboards in one of the neighborhood’s older homes, Grier-Key said – a sign of the need to preserve these modest sheds, which hold cultural significance beyond their architectural value.

As might be expected for a location that has attracted the likes of Lena Horne, Harry Belafonte, and Langston Hughes, artists have always had a presence in Sag Harbor. Abstract painters Al Loving and Frank Wimberley were part of a group called Eastville Artists in the 1970s. In particular, Wimberley has a long association with the Eastville Community Historical Society, and Dr. As Grier-Key points out, he made the sculptural mirror that hangs in the center’s washroom. LAT Reynold Ruffins A graphic designer and founder of the famous Push Pin Studios – along with his wife Joan Ruffins and daughter Lynn Ruffins Cave, he was the subject of an exhibition here in 2018.

Dr. Grier-Key, Butler, and Ascher hope to start getting work for the historic society’s collection. When I ask him who is on his wish list, he quotes artist Tomashi Jackson, among others. Jackson’s latest project commissioned at the Parrish Museum of Art, “Land Demand” (2021), drew on histories of the past and current experiences. Black, Indigenous, and Latino residents of Long Island’s East Side.

As an example of what the Eastville Community Historical Society can achieve, Dr. Grier-Key and Ascher, Southampton African-American MuseumOpened to the public last June, led by Brenda Simmons. The museum’s opening program included a historical exhibit, as well as a show featuring works by Sanford Biggers, Melvin Edwards, Theaster Gates, Glenn Ligon, and Kara Walker, on loan from the nearby collector Peter Marino.

Ascher said he avoided opening a physical gallery space in principle because “artist neighborhoods are a catalyst for gentrification.” This is why the opportunity to contribute to building a permanent historical archive in Eastville is particularly important to him.



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