Archive Collection: Viola Liuzzo

2016

Panels: digital prints mounted on matte board, 10.75″x12″, 18 total

A Developing Story (After Effects video)
Abstraction of news clip image about murder of Viola Liuzzo

Booklet: digitally printed, spiral bound, 9″x3.5″, 34 pages (3-way split)

Video of book flip

Content retrieved from news clippings, FBI reports and biographical book, From Selma to Sorry: The Life and Death of Viola Liuzzo, Mary Stanton.

The booklet was designed after matching-teaching aid books where the user has to flip panels/pages to complete or define various images. I redesigned the book as more of a memory book. All panels are not arranged to read as 1 image but are instead mix-matched in most segments to replicate the retelling and mixture of stories and memories. An intro page is included to briefly explain who Viola Liuzzo was. The concluding page gives information about efforts to revitalize her park and a weblink to join or learn more. Article and book citations are noted with the images throughout the book.

The panels were later created as another version of the book.

Related Project: What’s in a Name: Viola Liuzzo, revisited

Mend typeface

Inkjet print, 20″x36″, 2016


Mend Typeface play, After Effects animation

Process drawings, 2015

This study was created by overlapping 2 styles of the same typeface. Thinking about other ways to visually study memory, I likened this to overlapping 2 sides of the same story. After working with photography overlap studies, I wanted to explore type. While browsing The Library of Congress online archive I found a lettering manual, Standard Lettering by Roy C. Claflin, 1883. It contained various unnamed classic-appearing typefaces. I chose the Modern typeface with roman and italic style uppercase. I appreciated the ambiguity of the typeface’s origin as it allowed me to take a mental break from the earlier/heavier civil rights collages but still allowed me to explore memory and narrative.

*Photo Credit: Matthew Garin (first image)

What’s in a Name series

What’s in a Name: Dr. Ossian Sweet, Rosa Slade Gragg, Viola Liuzzo, 2014

Fabric on plywood, 32” x 38”

What’s in a Name: Ossian Sweet

*Photo Credit: Matthew Garin

*Photo Credit: Matthew Garin

What’s in a Name: Rosa Slade Gragg

What’s in a Name: Viola Liuzzo

*Photo Credit: Matthew Garin

*Photo Credit: Matthew Garin

This was a visual exploration of recreating name-signage to replicate the experience of seeing without seeing. Sparked from visiting Viola Liuzzo’s playground, I observed that before I learned about her, I could have seen the sign of her name many times without really seeing it – or seeing the significance behind her name.

Passage from studio tumblr / My experience after visiting Viola’s playground in Winter 2015:

The name plates stood out to me the most. Some were more degraded than others but it seemed to be a direct connection to the degradation of our memory of Viola Liuzzo. The signs were still legible but have in a sense gone unread for many years. I have seen parks and playgrounds named after people whom I did not know. So I believe I would have treated Viola’s sign the same had I not been previously informed. How could someone’s name who had such an impact locally and nationally exist in front of me and unknown? This question became the start of my next exploration series, What’s in a Name.

A little background of each name

Viola Liuzzo

Liuzzo was an activist, mother, wife and student who resided in Detroit, MI. In 1965, she shuttled volunteers between Selma and Montgomery for a march in response to the murder of Jimmie Lee Jackson. On March 25, at 39 years old, she was murdered in her car by members of the KKK, one of whom was an FBI informant. The murder of Viola immediately followed the end of the march and brought national attention that assisted in the passing of the 1965 Voting Rights Act. Her murder raised questions for many about the acceptable roles for white American women. Due to the FBI’s involvement in her murder, Viola was portrayed in the media as a disturbed rebel and outsider. Decades would pass before her legacy as a loving mother, wife, friend and caregiver would begin to surface. Decades later, the memories of Viola as a fiery, passionate individual are still outweighed by the story of her murder.

Courtney Richardson in Archive Collection project (booklet), 2015

*Liuzzo’s description is more extensive because I spent the most time researching her story through my projects. I plan to return to Gragg and Sweet in future projects.

Rosa Slade Gragg

Gragg was a civic leader. Born in Georgia, she lived most of her adult life in Detroit, MI.  In 1947 she founded the first black vocational school in Detroit, The Slade-Gragg Academy of Practical Arts (known as the Tuskegee of the north). She also founded a building for the Detroit Association of Colored Women’s Clubs in 1941. Gragg also advised multiple U.S. Presidents among many other achievements. Read more.

Dr. Ossian Sweet

In 1920s Detroit, Sweet along with his wife and friends endured a famous court trial for defending their home against a white mob. The trial was a pertinent segment in the Civil Rights Movement because it brought national attention to the discriminatory tactics of redlining and restrictive covenants against blacks in Detroit and other northern cities.

Learn more from book: Arc of Justice: A Saga of Race, Civil Rights, and Murder in the Jazz Age, Kevin Boyle

*2nd, 4th and 5th photos taken by Matthew Garin (http://www.matthewgarin.com/)

Related Project: What’s in a Name Viola Liuzzo, revisited

Viola piece displayed in Just My Type Exhibition hosted by Whitdel Arts (2016).

Re-membering Study: Rosa Parks and Emmett Till

Collage, inkjet prints, 2015

16”x20” (collage), 7.5”x9.5” (middle), 7.75”x 7.75” (top)

*Photo Credit, Matthew Garin

 

Degradation Mix, 2015 (previous study)
Photocopies

Undetermined, 2015 (previous study)
Digital prints, transparencies, tracing and construction paper

*Photo Credit, Matthew Garin

Initial installation
*This includes a third study that I have not revisited yet.

*Photo Credit, Matthew Garin

My studies about memory and history began with collage work. I intuitively cut Civil Rights photographs into pieces and glued them back together in different arrangements and painted over with watercolor. My goal was to visualize the act of re-memebering. Initial Inspiration was sparked the phrase “gap in reality” by Primo Levi. He discussed a relationship between distortion of memory and reality through progression of time, experience and narrative.

After allowing some time to pass, I revisited the collages digitally by removing the photographic content, leaving on graphic shapes in their place. Then I cropped a portion of that graphic to further remove the image from its origin. Here I am studying the transformative properties of memory and narrative and questioning the value of what is left behind or created.

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