The Gleaners, The Flower Carrier and The Migration Series

The Gleaners, The Flower Carrier and The Migration Series By Fernin F. Eaton Attorney at Law Presented as part of the “Immigration Politics, Borders, and Human Rights” Panel Conference on the Americas and Great Lakes History Conference October 21 & 22, 2016 Grand Valley State University, Robert C. Pew Campus, Grand Rapids, Michigan Part of what I’d like to do today is to suggest the importance of language, when we hear-or use--terms as ‘migrant,’ ‘immigrant,’ ‘refugee,’ or ‘asylum seeker.’ In the words of the U.N. High Commission on Refugees1, “word choice matters... Refugees are persons fleeing armed conflict or persecution ..Refugees are defined and protected in international law... Migrants choose to move ... mainly to improve their lives.”2 Scholars refer to “push-pull models”3 i.e., being pulled to something better, with a connotation of a positive choice, or being pushed from something bad, or making an attempt to exit a negative situation. “Population movements constitute the bedrock of world history and assume a wide range of guises” but an “ underlying problem ...is the definition of a migrant.” So says professor Julia A. Clancy-Smith’s recent work, Mediterraneans4 discussing generations of north-to-south migration of ‘surplus population’ Europeans to North Africa in the mid-nineteenth century. 1 Edwards, Adrian. "UNHCR viewpoint:'Refugee'or'migrant'-Which is right." UNHCR. org 27 (2015). Ibid, p. 3 Flahaux, Marie-Laurence, and Hein De Haas. African migration: trends, patterns, drivers. Comparative Migration Studies 4.1 (2016): 1- 5, at p. : dis ussi g the de ate o ho de elop e t affe t human mobility in which scholars have challenged conventional push-pull odels. 4 Clancy-Smith, Julia A. Mediterraneans: North Africa and Europe in an age of migration, c. 1800–1900. Vol. 15. U i of Califor ia Press, , at p. 9: Migratio should ot e o fused ith per a e t settle e t. Earlier, she set the stage for the eed to properl o te tualize the pro le : Populatio o e e ts o stitute the edro k of world history and assume a wide range of guises: epic wanderings, pilgrimage, pastoral nomadism, 2 1 I’ll use art today, and suggest we look at both what’s in the frame as well as what’s behind the frame, to help us see the push and the pull. Picasso said: “Art is a lie that makes us realize the truth, at least the truth that is given us to understand.”5 These selections of art reflect Picasso’s statement about the challenge we face in understanding current events. French philosopher Pierre Bourdieu wrote that our perception, our appreciation of art depends on our mastering two codes: our own “cultural code” but also that within which the artist created the work.6 It’s what I would call context. Bourdieu might have envisioned a common or monolithic “cultural code.” But our American experience challenges that rigidity and suggests that while our codes might overlap, they are nuanced by family or geographic origins, economic, career, health, relationship, political issues, etc. That is beyond my scope here, which is to mine the context or codes of the artists, for lessons which might apply today. [Slide] transhumance, voluntary relocation, forced expatriation, trade diaspora, travel, tourism, slavery, and labor mobility of many kinds. The critical elements in taxonomies of motion are the relative presence or absence of force, the motivations and objectives of those favoring departure over staying put, the duration and patterns of expatriation, and whether the place of exile became over time a space of belonging. To these considerations must be added variables such as gender, age and generation, social class, family structure, religion, and race, all of which determined how individuals or groups perceived their subjective situation at home and responded to the idea of temporary or permanent expatriation, however alluring or frightening that prospect ight ha e appeared. Ibid, p. 4. The Arts, Picasso Speaks, New York, May 1923. His statement in its complete context: “In art intentions are not sufficient and, as we say in Spanish, love must be proved by deeds and not by reasons. What one does is what counts and not what one had the intention of doing. We all know that Art is not truth. Art is a lie that makes us realize truth, at least the truth that is given us to understand. "STATEMENT TO MARIUS DE ZAYAS," 1923 'Picasso Speaks,' The Arts, New York, May 1923, pp. 315-26; reprinted in Alfred Barr: Picasso, New York 1946, pp. 270-1. 6 The full quote: “Any art perception involves a conscious or unconscious deciphering operation....An act of deciphering unrecognized as such, immediate and adequate ‘comprehension’, is possible and effective only in the special case in which the cultural code which makes the act of deciphering possible is immediately and completely mastered by the observer (in the form of cultivated ability or inclination) and merges with the cultural code which has rendered the work perceived possible.” In Bourdieu, Pierre, Outline of a Sociological Theory of Art Perception, (1968). Elsewhere he describes the influence of our personal “habitus” on perception: “[H]abitus are ...different principles of vision and division, different tastes.” In Bourdieu, Pierre. "Physical space, social space and habitus." At p. 17, Rapport 10 (1996) 5 2 Our Western tradition or “cultural code” described the world’s first border wall and Adam and Eve.7 Are we descendants of refugees, exiles or migrants? It was God who created the border, protected by “Cherubims and a flaming sword.”8 Since that first instance, the world has dealt with populations on the move. [Slide 2] I’d like to start our discussion today with a French artist, Jean-François Millet and his work, The Gleaners.9 Jean-Francois Millet (1814-1875): The Gleaners (Des glaneuses) (1857) Millet’s depiction of peasants, and the class consciousness it highlighted, alarmed the ruling class in Paris, who felt his work was intended as a political statement hearkening back to Revolutionary times when upper class members faced the guillotine.10 In the words of a modern “23 Therefore the Lord God sent him forth from the garden of Eden, to till the ground from whence he was taken. 24 So he drove out the man; and he placed at the east of the garden of Eden Cherubims, and a flaming sword which turned every way, to keep the way of the tree of life.” Genesis 3:23-24, King James Version 8 Banishment from the Garden of Eden was apparently peaceful. Nonetheless the creation of the first border suggests an early exception to the famous statement made by Charles Tilly that “War made the state, and the state made war.” See: Tilly, Charles, “Reflections on the History of European State Making,” in The Formation of National States in Western Europe. Princeton, NJ: Princeton University Press, 1975., p. 42 9 Indeed today ‘gleaners’ might face litigation if not imprisonment, for the activity of harvesting seed from a crop. See, e.g., the part of the GMO debate, or ‘genetically modified organism’, at the website of Monsanto, entitled: Why Does Monsanto Sue Farmers Who Save Seeds? http://www.monsanto.com/newsviews/pages/why-does-monsanto-sue-farmers-who-save-seeds.aspx [7/7/2016] 10 Contemporary art critic Baudelaire was not generous to Millet: “For 'style' has been his disaster. His peasants are pedants who have too high an opinion of themselves. They display a kind of dark and fatal boorishness which makes me want to hate them. Whether they are reaping or sowing, whether they are grazing or shearing their animals, they always seem to be saying, *We are the poor and disinherited of this earth—but it is we who make it fertile! We are accomplishing a mission, we are exercising a priestly function' ... In their monotonous ugliness,... these little pariahs have a pretentiousness which is philosophic, melancholy ...” Baudelaire, Charles, and Jonathan Mayne. "The Mirror of Art." (1956)., p. 160 p. 280-281; another critic saw more ominous unseen meanings, i.e., “that in the background there were ‘the pikes of the popular risings, and the scaffolds of 1793,’ as quoted in The Evolution of Criticism on Jean-Francois Millet, p. 83, Thesis by Hollis Marie Amley, North Carolina State University, (2005). Millet’s reputation has burnished with age. See, e.g., Plucking Warmth From Millet's Light, By Michael Kimmelman, New York Times Art Review, Aug. 27, 1999 http://www.nytimes.com/1999/08/27/arts/art-review-plucking-warmth-from-millet-s-light.html [9/23/2016]; see also: Laughton, Bruce. The drawings of Daumier and Millet. Yale University Press, 7 3 critic, “Millet’s subject-matter became dangerous...art in the nineteenth century showed everything of modern life except those who lived it….”11 In the foreground we see three women, idealized by Millet for their work in collecting the leftovers of the wealthier landowning class, with the overseer barely visible on horseback in the upper right corner. They were bound to the land. Migration for them held no promise, or no pull to become peasants elsewhere. [SLIDE 3] Honoré Daumier Millet’s contemporary, Honoré Daumier, was seen as more threatening to the ruling class, if only because of Daumier’s wider appeal to both the masses and the rising middle class. Art critic Charles Baudelaire described Daumier at the time as “one of the most important men…not …only in caricature, but in the whole of modem art.”12 His style is immediately recognizable in his caricatures which appeared frequently in the Paris press. Less well known is this political cartoon,13 done at a time, unlike today, when the west-facing Ottoman Empire, today’s Turkey, would join France and England in the Crimean War against Russia, and admitted as a member of the European Union14. Daumier depicted the Turkish sultan Abdülmecid I providing asylum to Polish and Hungarian political refugees against 1991. p. 113 “Millet….developed a new iconography of modern life. Taking his family from the Paris cholera scare in the 1830s, he settled in Barbizon, a village…[where] his painting took on a progressively starker portrayal of images of country labourers, displacing the …illusions of the pastoral code with its basically harmonious character of rural life….Predictably, the reviews of his most significant paintings of rural work…make it clear that the dominant class did not find Millet’s representations of rural life to its taste. In the 1850s, Millet was considered increasingly troublesome,….a socialist.” 11 Clark, Timothy J. "The absolute bourgeois: artists and politics in France 1848-1851." (1973). MISSING FOOTNOTE; see also: “Millet Reconsidered,” Robert L. Herbert, Art Institute of Chicago Museum Studies Vol. 1 (1966), pp. 28-65 Published by: The Art Institute of Chicago DOI: 10.2307/4104371 Stable URL: http://www.jstor.org/stable/4104371 12 Baudelaire, Charles, and Jonathan Mayne. "The Mirror of Art." (1956)., p. 160 https://ia800500.us.archive.org/7/items/mirrorofartcriti00baud/mirrorofartcriti00baud.pdf [9/25/2016] 13 En Orient. Echange de notes diplomatiques et de signaux télégraphiques. Daumier, Honoré, in Le Charivari, Oct. 12, 1849 http://hdl.handle.net/10192/2272 https://bir.brandeis.edu/handle/10192/2272 [7/8/2016] 14 At the 1856 Congress of Paris 4 demands by Russia and Austria, where they faced execution. Daumier’s cartoon thus skewered European ideas as to which nation exhibited the “Christian” values of the West. [SLIDE 4] As one modern writer says, “A significant theme of Daumier’s work ...at this period is that of flight, or Les Émigrants15. [probably “a specific political reference here to the deportation of 4,000 republican refugees to Algeria by the end of 1848.”16 [SLIDE 5] “Don Quixote …. Cervantes’ hero … inspire[d] Daumier.”17 Cervantes himself was inspired to write Don Quixote based on his capture and imprisonment by pirates who held him five years in Algiers for ransom.18 [SLIDE 6] Harlem artist Jacob Lawrence’s breakout show in 1941, now known as the Migration Series depicted “the massive movement of Blacks from the rural South to Northern urban centers during and after World War I,”19 the movement called the Great Migration. African-Americans were fleeing injustice[SLIDE 7] and violence in the South, as well as a class structure which kept them subordinate and subservient. They were also recruited vigorously by Northern industry which faced labor shortages during World Wars I and II.His panel at left depicts lack of access to justice, echoed in the anti-lynching work of his contemporary, Elizabeth Catlett,20 [SLIDE 8] whose Harriet Tubman pieces depict refugees along the Underground Railroad. “Due to the international trade, a single work by Daumier may …have ten different titles, according to the language, political motivation or agenda of an auction house.” http://www.daumierregister.org/werklist.php?lingua=en&search=intro&tech=oildetail [9/24/2016] 16 MISSING FOOTNOTE, p. 52 17 MISSING FOOTNOTE, p. 31: 18 See, e.g., Graf, Eric C. "When an Arab Laughs in Toledo: Cervantes's Interpellation of Early Modern Spanish Orientalism." diacritics 29.2 (1999): 68-85, at. P. 70, 80. 19 Brown, Milton. "Jacob Lawrence." New York: Whitney Museum of American Art (1974). p. 11-12 20 “Undertaken in 1946 and 1947, The Negro Woman is a series of fifteen linoleum cuts that acknowledges the harsh reality of black women's labor, honors several renowned heroines in particular, and renders visible the fears, struggles, and achievements of ordinary African American women.” Herzog, Melanie Anne. Elizabeth Catlett: In the Image of the People. Art Institute of Chicago, 2005. “Catlett 15 5 [SLIDE 9] A current sculpture exhibition travelling across Germany depicts “66 giant Wolfmen” who ..carry weapons, snarl at the passers-by and raise their arms in a way reminiscent of Nazi salutes.”21 Artist Rainer Opolka said it is a comment on the spread of racism and violence across Germany. [SLIDE 10] Similarly shocking is hip-hop artist Kendrick Lamar’s cover art for his wildly successful release last year, To Pimp a Butterfly. It confronts our “cultural code” with the “cultural code” of the artist of the cover and of the music. The imagery of young, disaffected black males, highlighted atop the image of the blind—or blinded—and moribund judge in the foreground, speaks to the disconnect between our prevailing judicial system and their dreams and aspirations, and needs. [SLIDE 11] An interesting example reflecting unresolved migration issues is seen in these photographs of the ongoing protest in North Dakota. Members of Michigan tribes have travelled west to join scores of other Native American tribes in opposition to a pipeline under construction.22 Not far from our conference, Canada built the Museum for Human Rights in Winnipeg. But it is not without controversy, with allegations the displays and intent are to downplay the harm First Nations have and still endure after European migrants arrived.23 began teaching at Dillard University in New Orleans” in 1940, i.e., a year before Jacob Lawrence came to Dillard himself. 21 Why Has a Pack of Wolves Descended on Berlin? https://fineartmultiple.com/blog/rainer-opolkawolves-berlin [8/13/2016] 22 Occupying the Prairie: Tensions Rise as Tribes Move to Block a Pipeline By JACK HEALY AUG. 23, 2016 http://www.nytimes.com/2016/08/24/us/occupying-the-prairie-tensions-rise-as-tribes-move-toblock-a-pipeline.html?ribbon-adidx=4&rref=us&module=ArrowsNav&contentCollection=U.S.&action=click&region=FixedRight&pgtyp e=article “But the people who stood at the gates of a construction site where crews had been building an access road toward the pipeline viewed the project as a wounding intrusion onto lands where generations of their ancestors hunted bison, gathered water and were born and buried, long before treaties and fences stamped a different order onto the Plains.” 23 A Museum About Rights, and a Legacy of Uncomfortable Canadian Truths By DAN LEVIN 10/5/2016 http://www.nytimes.com/2016/10/06/world/americas/winnipeg-canadian-museum-for-humanrights.html?hp&action=click&pgtype=Homepage&clickSource=story-heading&module=second-columnregion&region=top-news&WT.nav=top-news [10/5/2016] ““It’s the Great Canadian Myth on display,” Leah Gazan, an indigenous rights activist, said during a recent visit to the museum.” Also, the museum 6 [SLIDE 12] One of the earliest mass migrations in this country is known as the Trail of Tears, when Native Americans were removed from their ancestral lands east of the Mississippi River and forcibly relocated into Oklahoma. [SLIDE 13] Mexican artist Diego Rivera is perhaps best known for his murals, or frescoes.24 But his two works here, the Flower Carrier on the right, and the Flower Seller, on the left, incorporate his signature use of vivid, arresting colors and display contradictions between the beauty of the harvest, in this case, flowers, and the brutality of the work performed to get the goods to a higher-class clientele. We also see Rivera’s commentary about child labor, necessary to support the family in the flower gathering and selling, [SLIDE 14], not unlike that of Jacob Lawrence’s work, critical of the lack of educational opportunity in the South, offering yet another reason for the Great Migration. [SLIDE 15] A 2013 photograph showed some of the thousands of children who every year make the attempt to enter the United States by riding atop trains, called “La Bestia.” 25 A journalist at the time wrote that “It's a treacherous journey plagued with gang violence, kidnapping, human trafficking, government corruption and the physical dangers inherent in “has become a symbol of the contradictions between the nation’s modern multicultural identity and what critics say is an unreconciled legacy of human rights violations against indigenous peoples that continue to this day” The museum “occupies a prominent parcel in downtown Winnipeg, the capital of Manitoba, a province where more than 75 percent of aboriginal children live in poverty, the highest rate in Canada, according to a recent study. Winnipeg, home to the nation’s largest urban indigenous population, has long struggled to overcome a racial divide, which both its aboriginal mayor and the museum are trying to heal through educational and government programs.” 24 Craven, David. Diego Rivera: as epic modernist. New York: GK Hall, 1997, p. 128. addressing the 1934 fresco, Humanity, Controller of the Universe in the Palacio de Bellas Artes in Mexico City, wrote that Rivera’s mural “is about the contradictory unfolding of history, which discloses both the negative features of society to date and the positive promise for overcoming them in the future.” This was the second version after the first which Rivera created a year earlier for Rockefeller Center in New York City was rejected, censored and later destroyed. 25 Riding 'The Beast': Alt.Latino Interviews Salvadoran Journalist Oscar Martinez, October 24, 2013, National Public Radio http://www.npr.org/sections/altlatino/2013/10/24/234689752/riding-the-beastguest-dj-with-salvadoran-journalist-oscar-martinez [Oct. 16, 2016] 7 riding for days atop a train.”26 A UNICEF report this past August27 says: “The flow of refugee and migrant children from Central America making their way to the United States shows no sign of letting up” [SLIDE 16] Returning to Professor Clancy-Smith’s caution that we look at the “many guises” of population movements, I suggest that our Supreme Court unwittingly created a new class of migrants, folks who might howl in protest at that label, but who nonetheless are among us, in plain sight, performing a daily migratory ritual. The reason is a certain conformity to a “cultural code” rewards escape from the geographical borders which were first created by the Court’s desegregation decision in Brown v. Board, two generations ago and then passed on through similar court rulings. Those rulings had the perverse effect of encouraging white families to move just outside the geographic border of the court’s jurisdiction. The map has two somewhat arbitrary arrows marking distances to New Orleans. The smaller one, just over a thousand miles, I chose because it is the distance travelled by the many 26 Ibid BROKEN DREAMS: Central American children’s dangerous journey to the United States, a UNICEF Refugee and Migrant Crisis “Child Alert” https://www.justice.gov/eoir/file/888441/download [10/16/2016]. The report also says: “In the first six months of 2016, almost 26,000 unaccompanied children and close to 29,700 people travelling as a family – mostly mothers and young children – were apprehended at the US border. Most are from El Salvador, Guatemala and Honduras, which have some of the world’s highest murder rates. They seek to get away from brutal gangs that target them or poverty and exclusion that deprive them of education and hope..... In the first six months of 2016, more than 16,000 refugee and migrant children from El Salvador, Guatemala and Honduras were apprehended in Mexico. In addition, hundreds of refugees and migrants die every year in the harsh environment along the MexicoUS border. Many more are missing and are feared to have been kidnapped, trafficked or murdered.” Meanwhile, Mexico claims it has ‘reclaimed’ the concession which operates La Bestia: “Mexico reclaims migrant-shuttling ‘The Beast’ Railroad Concession” Aug. 23, 2016 http://www.reuters.com/article/usmexico-rail-migrants-idUSKCN10Y1ZR [10/16/2016]. Also, the Obama Administration has stepped up the pace of its deportation of Haitians, many of whom seek jobs after the devastation of the 2010 earthquakes. See, e.g., U.S. to Step Up Deportations of Haitians Amid Surge at Border By KIRK SEMPLE SEPT. 22, 2016 http://www.nytimes.com/2016/09/23/world/americas/haiti-migrantsearthquake.html?hpw&rref=world&action=click&pgtype=Homepage&module=wellregion&region=bottom-well&WT.nav=bottom-well&_r=0 [9-23-2016] 27 8 children trying to escape brutal conditions in Central America. The arrival of those children created a great political storm. Yet that is a one-time investment of travel, by refugees—not migrants—I suggest, while the true migrants, largely white, who have abandoned the nation’s cities, in this example New Orleans, and commute 45 miles one way, five days a week, have a total migration distance of roughly 24,000 miles per year, or the equivalent of driving from New Orleans to Tierra del Fuego and back again, and then repeating it for a total of two round trips year after year. To me, one seems more to be a refugee—the child from Central America. The other, seeking daily work in the city, whose work frequently is not taxed in proportion to the services provided, and returning to one’s homeland, is more properly seen as the migrant. Nor is this intended to cast aspersions, but simply to suggest that vocabulary matters. In some ways, today’s white commuter is not unlike the “freebooter” or “borderer” depicted by Sir Walter Scott in his many writings about the inhabitants of the contentious border between Scotland and England 28 To Scott, himself from a border family, the “freebooters” and “marauders” included those who “were ... very lawless plunderers....”29 Freebooters or “buccaneers”30 do not pay tax to, nor do they recognize, a sovereign, which is what advantages their economic enterprise. As Adam Smith wrote in 177631 Scott, fn. 93, p. 28 says that “Scott was descended from Border families celebrated in history, legend and ballad, …the conspicuous part played by his own ancestors in their tales of Border exploits encouraged family pride…The Border traditions, in which Scott was thus immersed …were those of a frontier society which had taken the first brunt of the English attack in the war which lasted for a thousand years.” 29 The Tales of a Grandfather, (1827), 1869 edition, Edinburgh, Adam and Charles Black, p. 200 30 See, e.g., Garrigus, John D. Before Haiti: Race and Citizenship in French Saint-Domingue. Palgrave Macmillan, 2006, p. 21-34 31 An inquiry into the nature and causes of the wealth of nations, The Modern Library, Edwin Cannan, ed. 1994, Book I, Ch. 2 “Of the principle which gives occasion to the division of labour,”, p. 14 28 9 “The protection of trade, in general, from pirates and freebooters... has always been considered as essential to the defence of the commonwealth”32 Smith wrote also “of a certain propensity in human nature…to truck, barter, and exchange one thing for another.”33 Currently in the United States we do not engage uniformly across all geographies within our borders with the commerce which Adam Smith says undergirds the strength of a nation. [SLIDE 17] We humans have been expressing our artistic talent and depicting our migration ever since we left Africa. The cave art in Altamira and of El Castillo in northern Spain is nearly 40,000 years old.34 [SLIDE 18] Just to the east of those caves is the town of Guernica, whoch Spanish artist Picasso immortalized in his famous painting, addressing the monstrosity of the Fascist bombing of the market town in 1937.35 [SLIDE 19] Bulgarian cartoonist Jovcho Savov recently adapted Picasso’s Guernica as a dark irony “Mediterranean crossing” as a way to draw attention to the plight of the refugees. Conclusion Ch. I. “OF THE EXPENSES OF THE SOVEREIGN OR COMMONWEALTH” Smith described the necessity of the sovereign to collect taxes in order to fulfill its three primary obligations: “The first duty of the sovereign, that of protecting the society from the violence and invasion of other independent societies [p. 747 Book V, Ch. I, Of the Expences of the Sovereign or Commonwealth]; “The second duty of the sovereign, that of protecting, as far as possible, every member of the society from the injustice or oppression of every other member of it, or the duty of establishing an exact administration of justice” [p. 766]; “The third and last duty of the sovereign or commonwealth is that of erecting and maintaining those public institutions and those public works, …which it …cannot be expected that any individual or small number of individuals should erect or maintain.” [P. 779] 34 Famous Cave Art Might Not be From Humans, NPR story, June 15, 2012 http://www.npr.org/2012/06/15/155009945/famous-cave-paintings-might-not-be-from-humans 35 From news reports at the time, 2003, “As Secretary of State Colin L. Powell presented evidence to help U.N. ambassadors decide whether or not to go to war against Iraq, there was one important thing they did not see: Pablo Picasso's "Guernica." A tapestry version of one of the world's greatest antiwar works that adorns the wall outside the Security Council chamber was covered Wednesday by a blue curtain with U.N. logos. 'Guernica' Cover-Up Raises Suspicions February 06, 2003|Maggie Farley http://articles.latimes.com/2003/feb/06/world/fg-guernica6 [7/10/2016]; see also, Powell Without Picasso By MAUREEN DOWD . New York Times, 2/5/2003 http://www.nytimes.com/2003/02/05/opinion/powell-without-picasso.html [7/10/2016] 32 33 10 Among the lessons these pieces suggest are that the individuals in Jacob Lawrence’s Migrant Series were really exiles or refugees, with no intention of returning to the South. Elizabeth Catlett’s Harriet Tubman assisted refugees fleeing enslavement. But slave catchers of the time called them ‘fugitives.’ François Millet and Diego Rivera’s peasants were captives of their class structure, boundaries that would not be breached by changing geography. Central American children on La Bestia have a greater claim to refugee status than to a migrant label. Those of us who make daily migrations to our work sites from far-off suburbs fit the more classic definition of migrant, i.e., travelling from home to where the work is. Tax and legal policies that underwrite and encourage our migration exacerbate the class distinction that increasingly make Kendrick Lamar’s men captives of their geography as well as class. I’ll conclude with two quotes: first, the Irish poet W.B. Yeats who said that “The end of art is peace,”36 with the hope that each of us succeeds in contributing what we can to finding a better ending to the story. [SLIDE 20] The second quote comes from the flag of the city of Detroit, lines written after the disastrous 1805 fire that burned the entire town. In the flag, one woman looks at the fire consuming the city, while the other looks to the future: "We hope for better things" and "It will rise from the ashes."37 Whether we choose to call them migrants, refugees, exiles or asylum seekers, that motto could well describe the hope that carries them, as it carried our ancestors, here: “we hope for better things.” Thank you. “The end of art is peace” was stated by William Butler Yeats, 1901, p. 255 in his essay, Ireland and the Arts, in The Collected Works of William Butler Yeats: Ideas of good and evil (1908) Yeats, William Butler, and Allan Wade. Vo. VI, Shakespeare Head Press, 1908. 37 http://detroithistorical.org/learn/encyclopedia-of-detroit/flag-detroit [10/16/2016] 36 11 Bibliography for Further Study Alcántara, Isabel, and Sandra Egnolff. Frida Kahlo and Diego Rivera. Prestel Pub, 2001. Anderson, Fred, and Andrew Cayton. The Dominion of War: Empire and Liberty in North America, 1500-2000. Penguin, 2005 Azuela, Alicia. "Diego Rivera, A Retrospective." (1986) Barr, Alfred Hamilton. Picasso: Fifty years of his art. Secker and Warburg, 1975. Brown, Milton. "Jacob Lawrence." New York: Whitney Museum of American Art (1974). Camus, Albert. Algerian chronicles. Harvard University Press, 2013. Cannan, Edwin. "Adam Smith: An inquiry into the nature and causes of the wealth of nations." Modern Library New York (1994). Craig, Tom and Shogan, Robert. "The Detroit Race Riot: A Study in Violence." (1964 Craven, David. Diego Rivera: as epic modernist. Nueva York: GK Hall, 1997. Craven, David. Art and revolution in Latin America, 1910-1990. Yale University Press, 2002. Daoud, Kamel. The Meursault Investigation. Oneworld Publications, 2015. Daumier, Honoré V., “Honoré Daumier-240 Lithographs (1946) Daumier, Honoré, and Jacqueline Armingeat. Liberated women:(bluestockings and socialist women). Vilo, 1982. Edmunds, R. David. "Tecumseh and the Quest for Indian Leadership (Boston: Little, Brown & Co., 1984)." Farley, Reynolds, Sheldon Danziger, and Harry J. Holzer. Detroit divided. Russell Sage Foundation, 2000 Fowler, Bridget. Pierre Bourdieu and cultural theory: Critical investigations, Sage Publications, 1997. Guyatt, Nicholas. Bind Us Apart: How Enlightened Americans Invented Racial Segregation. Basic Books, 2016. Hamill, Pete. Diego Rivera. Harry N. Abrams, 1999. Helms, Cynthia Newman, ed. Diego Rivera: a retrospective. WW Norton & Company, 1986. Humphrey, Norman Daymond. Race Riot, Detroit 1943. Octagon Books, 1968. Ives, Colta Feller, Margret Stuffmann, and Martin Sonnabend. Daumier drawings. Metropolitan museum of art, 1992. Kryza, Frank T. The Race for Timbuktu: in search of Africa's city of gold. Harper Collins, 2006. Laughton, Bruce. The drawings of Daumier and Millet. Yale University Press, 1991. Laughton, Bruce. Honoré Daumier. Yale University Press, 1996. Locke, Hubert G. The Detroit riot of 1967. Wayne State University Press, 1969. Marnham, Patrick. Dreaming with his eyes open: A life of Diego Rivera. Univ of California Press, 1998. McDougall, Marion Gleason, and Albert Bushnell Hart. Fugitive Slaves (1619-1865). No. 3. Ginn & Company, 1891 Muller, Jerry Z. Adam Smith in his time and ours: Designing the decent society. Princeton University Press, 1995. Nedelsky, Jennifer. Private property and the limits of American constitutionalism: The Madisonian framework and its legacy. University of Chicago Press, 1994 Paz, Octavio. The labyrinth of solitude: Life and thought in Mexico.. Grove/Atlantic, 1962 Penrose, Roland. Picasso, his life and work. Univ of California Press, 1981. Raphael, David Daiches. "Adam Smith." (1987). 12 Renfrew, Colin, and Iain Morley, eds. Becoming human: innovation in prehistoric material and spiritual culture. Cambridge: Cambridge University Press, 2009. Rey, Robert, and Honoré Daumier. Honoré Daumier. Harry N Abrams Incorporated, 1985. Sands, Philippe. East West Street: On the Origins of Genocide and Crimes Against Humanity. Knopf Publishing Group, 2016. Schama; Schama. The face of Britain :A History of the nation through its portraits Oxford University Press 2016 Smith, A. "The Ethnic Origin of Nations." (1988) Sugden, John. Tecumseh: A Life. Macmillan, 1999. [Henry Holt and Co., New York] Sugden, John. Tecumseh's Last Stand. University of Oklahoma Press, 1985 Van Hensbergen, Gijs. Guernica: The biography of a twentieth-century icon. Bloomsbury Publishing USA, 2005. Warncke, Carsten-Peter. Pablo Picasso: 1881-1973. Benedikt Taschen Verlag, 1991. Wheat, Ellen Harkins, Jacob Lawrence, and Patricia Hills. Jacob Lawrence, American Painter. University of Washington Press, 1986. Woodford, Arthur M. This is Detroit, 1701-2001. Wayne State University Press, 2001. 13