Racism is a White Problem

My installation re-opened last weekend, and will be on view through August 2. Weekend hours 12 - 5. Weekdays by appointment. Please note Bromfield Gallery's policies for safety during the Covid19 pandemic.


When I started work on this piece in the summer of 2018, I asked the question 'How did I end up living and working in mostly white environments?'. It had never been my goal. One answer is that the path of least resistance for a white person leads to a segregated life and to the invisibility of racism within that life. Another answer is that racist financial and governmental policies designed to benefit white people created this situation. Both are true.

The back walls my installation are made of brightly colored, hand dyed, cotton batting. I dyed and stitched the Redline map of the Greater Boston area to use as the outer walls of the installation  The original Redline maps were created as part of the New Deal, and they were used by insurance companies and banks to prevent black people and other marginalized groups from receiving mortgages or buying property in white majority neighborhoods. I used cotton batting to recreate the maps because that material is usually reserved for the inside of quilts; and quilts are often designed to tell stories. The true story about white prosperity is that it is built upon the unseen and unfairly compensated labor of black and brown people, and the biased promotion and protection of white people. The white paper cutouts show houses and college pennants, two of the tools for improving an individual's or a group's wealth and well being. These opportunities are much more available to white people than to other groups.

For more information about redlining, visit the Mapping Inequalitywebsite. 

Intervisible

Red Lining and Blind Stitching in the Fabric of Greater Boston

An Installation by Caroline Rufo

“Intervisible” is a term used in urban planning. It refers to the state of being mutually visible from specific positions in the landscape. 

The history of the development of suburbs around American cities is the history of how racial segregation was maintained after the Civil War and during the Great Migration. It is the story of how the financial and municipal resources of the 20th century were purposely directed to white people and away from people of color. 

The fabric, paper, thread and string used to make up this artwork are all 100% cotton.

This history remains invisible to many white people. It takes effort to see and believe the way white suburban prosperity and black urban neighborhood degradation was caused by a combination of real estate practices such as “blockbusting”, racial covenants designed to keep people of color out of white neighborhoods, the redirecting of government resources out of the cities and into the suburbs, and of redlining.

The design of the outer fabric walls of this piece are taken from the Home Owners’ Loan Corporation “Redline” map of Greater Boston. These walls are made from hand-dyed cotton batting, a fabric usually used to line the inside of quilts. 

This piece explores the ways I am encouraged as a married suburban cis-hetro-white woman to direct my gaze on my home, the town where I live, the rearing and education of my children, and my “personal growth”; rather than on the structures that maintain our system of white supremacy. Complacency results in blindness and continued injustice. It leads to the dangerous myth of the “self-made man”, which can only exist inside a vacuum of white historical mythology. It leads us away from true intervisibility.

The inner walls of this piece are designed to interrupt the viewer’s ability to see the maps. The images cut into these screens include, cotton plants, college pennants, Battenberg lace, chain link fence, and houses.

I would like to acknowledge that all of the land referred to in this artwork, as well as the land where this gallery stands, is the traditional hunting grounds, fishing grounds and home of the Massachusett peoples.

And, I would like to note that the land did not consent to becoming an instrument of oppression.

HOLC Redlining Map of Boston

Above is an image of the HOLC redline map of Boston. In the installation, I translated the two boxed areas into fabric walls.

Below are process images. Left to right, top to bottom: Detail of a model of the Installation, sample of cotton Battenberg Lace, pieces of hand dyed cotton batting being reassembled into the map walls, one panel of laser cut watercolor paper over the stitched fabric map, an image from a day of research at Lowell Mills, Drawing of a cotton plant, cotton samples from the RISD Nature Lab, Hand dyed fabric for the maps drying, sketch of the gallery space, hanging lace panels, process shots from a photo shoot of some elements of the installation. (Thank you to Matt Kedzierski for support and labor on this project!)

New England Home Magazine

I was so pleased and excited to see my painting featured on the cover of New England Home Magazine! With gratitude to the Powers Gallery for putting my work in front of designer Lisa Tharp! Photography by Read McKendree.

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Green Book Project continues

My work on the Chapman House in Needham continues. The installation I am planning is beginning to take shape. I still have to work out a venue and I’m still in search of an historian to give me critical feedback. If you know someone who might be interested in working with me on the project (from a history/content standpoint), please reach out to me directly at:

caroline@rufoart.net

And thanks!

Laser-cutting watercolor paper for Green Book Art Installation.

From Movement to Mark-Making

As promised, I've begun putting the new paintings up on our website. I'm working with four very defined palettes and a visual language that I developed while working with dancers this winter. Click the link below to see 16 new paintings from this series.