Derrick Adams: Buoyant at the St. Pete Museum of Fine Art

One of Derrick Adams' Floaters

Perhaps it shouldn't have come as a surprise to hear Derrick Adams say the inspiration for his "Floaters" series came from a Google search. After all, aren't we all perpetually online?

Adams' internet surfing wasn't totally random, though. For his latest body of work, he wanted to capture images of Black culture that aren't frequently represented in contemporary art. He Googled images of MLK and Malcolm X and, not surprisingly, most of the results focused on their activism. Important, but not exactly a new narrative. 

Adams kept at it and eventually stumbled upon an article about MLK's "Tropic Interlude" in Jamaica in a 1967 edition of Ebony.  Images of the Civil Rights leader on vacation triggered Adams' realization that we don't often see portrayals of Blacks, especially working class Blacks, on vacation or enjoying leisure time activities. Why is that? Doesn't everyone need downtime with family and friends to recharge? Is there a concern such images would perpetuate a stereotype that Blacks are lazy or irresponsible?  (It's worth noting that the Ebony article made it clear MLK was on a working vacation to finish his book.)  Adams' Floaters series--now on display at the St. Pete Museum of Fine Arts--is the result of his consideration of these questions.

MLK and Coretta enjoy
some pool time in Jamaica

James E. Bartlett, co-curator of the exhibit, said, "Relaxation and play can be revolutionary acts when performed by those traditionally excluded from activities of leisure. Until very recently, art history has been viewed almost exclusively through a white, heteronormative lens. Many viewers did not see themselves reflected in the work at all." Seeing yourself represented onstage is an idea much discussed in the theater these days. (In case you missed it, check out "We See You, White American Theatre" for an extensive list of demands by Black theater professionals for equal representation throughout the industry.)  Of course the concept is equally applicable to the visual arts. 

The Museum used Adams' exhibit as an entry point for a talk entitled "African American Leisure in the Sunshine State and Beyond." Joining Adams were Dr. Gretchen Sorin and Cynthia Wilson-Graham.  Sorin is the author of the book Driving While Black: African American Travel and the Road to Civil Rights. Wilson-Graham co-wrote Remembering Paradise Park: Tourism and Segregation at Silver Springs.

"Mobility is essential to freedom," Sorin said. Limitations on the mobility of Blacks date back to the days of slavery. In the 1940s and '50s, Blacks became consumers of travel, with cars both a form of transportation and a status symbol. But having personal transportation didn't mean travel became easy or safe. The Negro Motorist Green Book provided Black travelers with tips for "vacation without aggravation." 

Illustration from "Driving While Black" 

Sorin explained the book was written in "coded language" that tended not to talk directly about the segregation, violence and intimidation travelers might encounter along the way. That was a given, and addressing these issues would have run the risk of alienating the white distributors of the Green Book. So you sometimes had to read between the lines. For instance, the book's omission of appropriate accommodations in a particular town might mean it was a "sundown town" where Blacks were required to be beyond city limits before the sun set. In some sundown towns, sirens blared when the sun hit the horizon to provide additional notice of the law. Yet another indignity of which I was unaware. For more history about the Green Book, click here. 

Being behind the wheel of a car also subjected Blacks to other risks. Racial profiling and police brutality involving Black drivers are problems we all know continue to this day.  In fact, the issues raised by Driving While Black are so relevant that Ric Burns collaborated with Sorin on a documentary of the same name. It is currently available on PBS. Click here for more information. And yes, in case you were wondering, Ric is Ken's younger brother.

Two of Derrick Adams' Floaters

Wilson-Graham's discussion of Remembering Paradise Park provided a nexus between Adams' and Sorin's work with its focus on a water-themed vacation destination. You might be familiar with Florida's Silver Springs Park with its crystal clear water and glass bottom boats. Before the phenomenon of Disney World, Silver Springs was the premiere tourist attraction in the state. But it wasn't a destination where everyone was equally welcome. 

Paradise Park was the "colored only" counterpart to Silver Springs. It was owned and operated by the same people for a different clientele. In addition to glass bottom boat tours, visitors could play softball or dance to a jukebox or enjoy a sandy beach. Admission was free, although there was a charge to swim. Open from 1949-1969, the vacation spot often welcomed 100,000 people in the course of a year. To see some images from Paradise Park, click here. 

Thanks to the Museum for bringing Adams, Sorin and Wilson-Graham together for this eye-opening discussion. Derrick Adams: Buoyant is on display through November 29th.