Murals depicting African American life and history to be restored in Harlem

Robin Pogrebin for the New York Times reports that as Harlem Hospital gets a substantial makeover, a group of large murals that have graced the walls of the hospital since the 1930s are undergoing a multimillion dollar restoration. The murals were commissioned as part of the Federal Art Project of the WPA in the 1930s, and depict a variety of scenes from the history, everyday life and symbolism of African American culture. The murals, which have deteriorated and in some cases been covered up, will have a place of honor in a new publicly accessible gallery in the hospital.

A panel from Charles Alston’s “Modern Medicine,” WPA mural in Harlem Hospital
Photo credit: Columbia University

Among the murals is a diptych by Charles Alston entitled “Magic in Medicine/Modern Medicine,” which shows the history of folk medicine alongside modern innovations and contemporary doctors. Alston, who received consecutive Rosenwald fellowships in 1940 and 1941, was a primary driving force behind the murals. The WPA initially blanched at the black-centric subject matter, citing concerns that the content could offend the black community and claiming it was shortsighted to focus on black history in a community that may not always have the same racial complexion. Their misguided criticisms may have resulted from the fact that, according to the New York Times, this was perhaps the biggest federally-funded art project to date that commissioned black artists. In response to the WPA’s pushback, Alston formed the Harlem Artists Guild (with another Harlem-based Rosenwald fellow, Augusta Savage) and successfully lobbied the WPA into allowing the project to proceed. The murals were worked on by a wide variety of artists, including other Rosenwald fellows such as Ronald Joseph.

 A panel from Vertis Hayes’ “Pursuit of Happiness,” WPA mural in Harlem Hospital
Photo credit: Columbia University

In addition to Alston’s murals, “Pursuit of Happiness” by Vertis Hayes is a particularly interesting part of the collection. One panel of Hayes’ work in particular (pictured above) depicts the migration of African Americans from the rural south to northern industrial cities. This hopeful painting utilizes a dramatic symbol of progress, a giant cog, which is a common motif in art from the time period that depicts African American history, and can be seen in artworks by two Rosenwald fellows: Lamar Baker’s “Ezekiel Saw The Wheel,” and Aaron Douglas’s “Aspects of Negro Life,” pictured below. The latter was another WPA-commissioned mural and was originally displayed in the Harlem branch of the New York Public Library (which is nearby to Harlem Hospital as well as the Harlem Rosenwald YMCA).

A panel from Aaron Douglas’s 1934 “Aspects of Negro Life”
Photographed by Hane C. Lee (flickr)

Below is an excerpt from “A Study of Negro Artists,” a 1937 film which depicts several Harlem artists at work. The video is cued to a scene from the film that shows muralist Aaron Douglas painting in his studio. Douglas received his Rosenwald fellowship the same year the film was made, probably on the strength of his recent WPA murals and the paintings he contributed as cover art to Rosenwald fellow Claude McKay. With his grant, the New York-based artist traveled to the south to gain new inspiration for his work. If you stay tuned to the film, the next section features another WPA muralist named Palmer Hayden.


“A Study of Negro Artists,” 1937
Video credit: The Prelinger Archives / The Internet Archive

Although it was initially resistant, the WPA’s Federal Art Project became a valuable patron of African American art. It’s no coincidence that there are many intersections between the WPA and the Rosenwald Fund. In the early twentieth century, before the National Endowment for the Arts, the Rosenwald Fund and the WPA worked toward a common purpose, and together they made up a huge proportion of the support nationally for black artists.

This blog featured some more murals a couple of weeks ago by a different Rosenwald fellow, Hale Woodruff. Daniel Schulman has written that Charles Alston shared Woodruff’s spirit of experimentation, moving between different artistic styles. It’s great that both of their works are being restored and displayed publicly.

By Michael Rose

Exhibition of Photographer and Rosenwald Fellow Gordon Parks at Harlem Gallery

Side view of the Schomburg Center, 515 Malcolm X Boulevard, Harlem, New York
Photo credit: Michael Rose, July 20, 2012

The Schomburg Center for Research in Black Culture, at 135th Street and Malcolm X Boulevard in New York City, is showing a collection of works by the great African American photographer Gordon Parks, who passed away in 2006. The exhibition is in commemoration of what would have been Parks 100th birthday, and will be on display until the end of the year. It was advertised in the Arts section of last week’s New York Times.

Gordon Parks in the FSA office
Photo credit: Library of Congress, ca. 1943

The exhibit focuses on Parks’ work in the 1940s with the Farm Security Administration. Parks joined the FSA after being awarded a Rosenwald Fund grant in 1942, which he received on the strength of his photographs of Chicago’s South Side. The current exhibit displays some similar black and white portraits and street scenes of black neighborhoods in Washington, D.C. and Harlem that he took in the early 1940s for the FSA and the Office of War Information. In addition to those included in this blog, hundreds of Parks’s photographs are available online at the Library of Congress. A documentary about Parks’ career entitled Half Past Autumn is also part of the exhibit and will screen at least once more at the Schomburg Center, this August.

“Anacostia, D.C. Frederick Douglass housing project. Playing in the community sprayer ”
Photo credit: Gordon Parks, 1942, Office of War Information, LOC

“New York, New York. A Harlem newsboy”
Photo Credit: Gordon Parks, 1943, Office of War Information, LOC

The Schomburg Center is located just half a block from the famous Harlem YMCA. This towering mid-block building was funded in part by a Rosenwald “challenge grant,” and is probably the largest structure built as part of Rosenwald’s YMCA campaign. Parks, like many other new arrivals to Harlem, stayed at the YMCA for some time when he was new to the city. When I visited the gallery, 135th Street was crowded with the 2012 Harlem Book Fair.

Schomburg Center foreground, Harlem Rosenwald YMCA background
Photo credit: Michael Rose, July 20, 2012

By Michael Rose