A year ago, Philadelphia Mayor Jim Kenney planned to award a $500,000 no-bid commission for a permanent Harriet Tubman statue to a white artist, Wesley Wofford, who has never won a public commission for a Tubman statue. After sustained agitation, the Office of Arts, Culture and the Creative Economy (OACCE) reversed course and issued an Open Call. Wofford was among the 50 artists who responded to the Open Call. The five semi-finalists were announced on March 31, 2023. Wofford didn’t make the cut. He’s now batting 0 for 24 public commissions for Harriet Tubman statues.
All of the semi-finalists—Vinnie Bagwell, Richard Blake, Tanda Francis, Alvin Pettit and Basil Watson—are Black. The public is invited to attend a virtual public input meeting with the artists.
The Zoom webinar will provide an opportunity for the artists “to hear directly from the public before they create initial design proposals for the Harriet Tubman statue. The winning proposal will become a statue that will be located on the northeast apron of City Hall and the first statue of a Black female historical figure in the City’s public art collection. OACCE encourages all Philadelphians to be a part of this historic public art commission for the City by attending this public meeting and making your voice heard.”
The public input meeting will be held on Monday, April 24, 2023 at 5:30pm ET. RSVP for the Zoom webinar here.
From Auburn, New York to Ypsilanti, Michigan, the commissioning of a Harriet Tubman statue has been a source of civic pride. In Philadelphia, the city where Harriet first experienced freedom, the public art acquisition process is tainted by white privilege, lies, and fuzzy math. The Office of Arts, Culture and the Creative Economy (OACCE) manipulated survey data to minimize public support for a permanent Harriet Tubman statue. OACCE claimed that only 25% of respondents want a statue of the American icon.
When OACCE was called out by a reporter with the Philadelphia Inquirer, the “full report and report summary were revised on November 22, 2022, clarifying the result for question one.”
Mama Maisha recounted that OACCE Director Kelly Lee told her that the City planned to award a no-bid commission to Wesley Wofford “because he’s in the system already. We can expedite it faster because he’s already in our system.” Her response: “Of course he is. White men are always in the system.” In a majority-minority city, two African American women are gatekeepers for white privilege.
These unaccountable bureaucrats want to sign the contract for the Harriet Tubman statue – or random African American figure – while their boss, Mayor Jim Kenney, is still in office. To do so, they have set an arbitrary timeline that would require artists competing for the commission to work like slaves through Christmas, Kwanzaa, Watch Night, New Year’s Day and Martin Luther King Jr. Weekend. By contrast, Lee and Anglin spoon-fed Wofford inside information for months as he prepared his proposal.
Mama Maisha notes the disparate treatment of Black and other underrepresented artists:
Now they got a speedy timeline. They want everything in by January, over the holidays. People busy, people committed to their families. They got stuff to do at the end of the year. So now you got a rushed timeline. You didn’t have a rushed timeline for Wesley Wofford. But now that you’re dealing with people of color and women, you got a rushed timeline.
The Celebrating the Legacy of Nana Harriet Tubman Committee said in a statement:
Enough! OACCE’s misinterpretation of the data and the lack of transparency in their decisions and actions minimize the importance of community engagement in public art acquisition. We demand a moratorium on the current statue commission Open Call until new, competent, transparent, and accountable oversight is created.
Mama Maisha told Attorney Michael Coard:
We want a moratorium on this Open Call, and we want Kelly Lee and Marguerite Anglin removed from any oversight. We’re going to the Mayor. We’re going to City Council. And if necessary, we will put boots on the ground in front of the Mayor’s Office. We’re ready to hit the streets.
If you have had enough of the coonery at OACCE, contact Mama Maisha Sullivan-Ongoza at (215) 385-0214 or Dr. Michelle Strongfields at (267) 231-0092; email: email@example.com.
From Frederick Douglass to the CIA, Harriet Tubman’s singular contribution to American history is recognized. In Philadelphia, the city where Tubman first experienced freedom, the Office of Arts, Culture and the Creative Economy (OACCE) is scrounging around for random African American historical figures to celebrate. Without explanation, OACCE is seeking public input “for a permanent statue that celebrates Harriet Tubman’s story or another African American’s contributions to our nation’s history.”
The survey asks five questions, all of which beg the question: Why is OACCE searching for a “Magical Negro?” In an earlier survey, the public said they want a permanent statue of Harriet Tubman.
OACCE is heading down the same opaque and incoherent path that led to the reversal of their plan to award a no-bid commission to a white artist. Without a change in direction, OACCE Director Kelly Lee and Public Art Director Marguerite Anglin are cruising for another bruising.
The Office of Arts, Culture and the Creative Economy’s announcement that there will be an open Call for Artists for Philadelphia’s permanent Harriet Tubman statue struck the wrong chord. Public Art Director Marguerite Anglin said:
Yes, the open Call for Artists for this public art project will welcome proposals for a permanent statue that celebrates Harriet Tubman’s story or another African American’s contribution to our nation’s history. This will be a true open Call for Artists, where the City will be looking for a wide variety of original and unique ideas from many artists.
First, Harriet is sui generis. She cannot be replaced by a random African American historical figure. Second, the Managing Director’s public art policy directive establishes criteria for artwork placed on public property. The artwork must commemorate individuals who “made significant contributions to Philadelphia, have had significant impact on Philadelphia and beyond, and represent broadly shared community values.” In my op-ed published in the Philadelphia Inquirer, I wrote:
Representation matters, but when it comes to artwork on city property, who is represented matters. Anglin said that the city “will be looking for a wide variety of original and unique ideas from many artists.” But the city’s public art policy does not allow for that.
The short list of African American historical figures who meet the city’s public art policy includes Malcolm X. Like Harriet, Malcolm was prepared to use a firearm and any means necessary in his pursuit of freedom and racial justice.
Malcolm X, aka El-Hajj Malik El-Shabazz, was a world-renowned human rights activist, racial justice advocate and cultural icon whose charismatic leadership laid the foundation for the growth of Sunni Islam among African Americans. Today, an estimated 200,000 Muslims live in Philadelphia, the majority of whom are Black.
Malcolm has been memorialized in books, movies, music, visual art, and a U.S. Postal Service Black Heritage Stamp.
In addition to Malcolm X Park and murals, Malcolm’s time in Philadelphia is commemorated with a state historical marker that notes his leadership of Nation of Islam Temple No. 12 in the 1950s. Will the City’s Request for Proposals include Malcolm X, “Our Black Shining Prince?” If not, why not?
Celebrated author and civil rights activist James Baldwin said, “Not everything that is faced can be changed, but nothing can be changed until it is faced.”
In the face of community resistance to the award of a sole source contract to a white artist to create a permanent Harriet Tubman statue, Mayor Jim Kenney and the Office of Arts, Culture and the Creative Economy (OACCE) announced the City is taking a “new direction.” Kenney said:
Our Administration and OACCE have always been committed to public art that celebrates and showcases the stories of African American contributions to this country’s history while also developing or supporting various opportunities to increase the diversity of artists. In that spirit, it is important that we listen to the voices of those in the community and incorporate that feedback into our vision of commissioning this permanent statue. Opening the process to a Call for Artists is the appropriate next step as we begin telling the powerful stories of historic Black figures to all who visit City Hall.
As I told the Philadelphia Inquirer, the Mayor had to reverse course. Procurement opportunities must be advertised on the City’s website and open to all bidders. But the fight is not over. I have outstanding Right-To-Know (RTK) requests with the Mayor’s Office, which includes OACCE, and the Office of the Chief Administrative Officer.
The RTK contact in the Mayor’s Office asked whether I am still seeking the records “in light of recent developments in the proposed project.” If so, they asked for an extension until September 14. My response: No problem. I can wait. One would think Kenney and OACCE would be eager to silence critics who question whether four million people “positively reacted” to the temporary Harriet Tubman statue that was on display at City Hall for three months during the dead of winter.
I hope the records shed light on why OACCE Director Kelly Lee continues to say “the City’s contracting process allows OACCE to directly commission public artwork.” I sought records related to her assertion from the three agencies that must approve non-competitively bid contracts. Both the City Solicitor and Finance Director wrote: “The City does not have records responsive to your request.” The Procurement Commissioner claims her office did not receive my email.
In any case, time is running out on the Kenney Administration (his term ends on January 1, 2024). It remains to be seen whether OACCE will issue an RFP. If one is issued, we will demand the recusal of Kelly Lee and Public Art Director Marguerite Anglin from the review and selection process. They orchestrated the exclusion of Black artists from competing for a public commission for a statue of a Black icon. History tells us one cannot be part of the problem and the solution.
We also will demand the recusal of the Harriet Tubman Statue Advisory Committee. Silence equals complicity. With the exception of Cornelia Swinson, executive director of the Johnson House Historic Site, Committee members supported OACCE’s plan to give a white artist who has never won a public commission for a Harriet Tubman statue a $500,000 “direct commission.”
For updates on the open Call for Artists, sign up here.
Philadelphia’s plan to award a non-competitively bid commission for a Harriet Tubman statue has encountered fierce resistance (here and here). Celebrating the Legacy of Nana Harriet Tubman Committee sent an open letter to Mayor Jim Kenney requesting a meeting:
We write this letter to request a meeting with you; preferably one day this month. We will make ourselves available according to your schedule. We want. We are aware you are in support of this decision.
The Committee Celebrating the Legacy of Nana Harriet Tubman takes extreme exception to this decision announced by the Office of Arts, Culture and the Creative Economy (OACCE) to award a no bid commission (in the amount of $500,000) to create a permanent statue of Nana Harriet to Wesley Wofford, where an Open Call Process was not considered. Such actions prevent other artists from the opportunity to compete for a contract/commission especially for such an iconic, historical, and culturally important figure as Nana Harriet Tubman!
Our research shows that the OACCE has awarded one non-competitively bid commission to a performing artist to do a specific piece in 2017. The handful of non-bid contracts was awarded to conservation professionals. As one committee member has stated, “The community is fighting to ensure there’s not a second no bid-commission.”
Simply stated, as Philadelphia residents, we are being deprived of a free and open process to see other versions of Nana Harriet through the creative visioning of other artists, especially Black women and other People of Color. Our committee rejects this blatant disregard of protocol and nationally accepted best practices for public art procurement, coupled with the dismissal of community voices.
Mayor Kenney recently announced the African American Museum in Philadelphia will relocate to the former Family Court building on Benjamin Franklin Parkway. In a tweet, he said, “Looking forward to the proposals of the four chosen development teams who will reimagine the sites.”
While Mayor Kenney looks forward to the competing visions for the museum’s new home, Philadelphia residents are supposed to accept the vision of Kenney’s handpicked artist, Wesley Wofford, a white sculptor whose studio is located in the North Carolina Mountains. The Mayor and OACCE Director Kelly Lee want to award a no-bid commission to Wofford to imagine a Black icon who was the most celebrated conductor of the Underground Railroad and Civil War hero.
The competitive procurement opportunity for the adaptive reuse of the Family Court building is managed by the Philadelphia Industrial Development Corporation (PIDC). The RFP affirms: “The City’s and PIDC’s primary objective in issuing this solicitation is to select a diverse, experienced, capable and qualified development team that will ultimately plan and implement a dynamic commercial development that significantly enhances and complements the existing cultural, commercial and residential developments along the Benjamin Franklin Parkway and to maximize the value of the Property for the City.”
The focus on diversity and best qualified applicant begs the question: What is the primary objective in awarding a non-competitively bid commission to Wesley Wofford who is batting 0 for 23 on public commissions for Harriet Tubman statues?
The exclusion caused an uproar in the Black community. Historian John Henrik Clark, a consultant for the exhibition, later withdrew in protest. Dr. Clark told The New York Times:
Fast forward to today, Philadelphia Mayor Jim Kenney and his appointee, Kelly Lee, director of the Office of Arts, Culture and the Creative Economy (OACCE), want to give a no-bid $500,000 commission to Wesley Wofford, creator of the traveling statue, Harriet Tubman: The Journey to Freedom. The commission would be for a new statue. Wofford has no unique insight into Harriet Tubman and knows nothing about Philadelphia, a city that is majority minority. His studio is located in the North Carolina mountains.
The exclusion of Black artists has caused an uproar. OACCE’s plan to spoon-feed Wofford gives new meaning to “starving artist.” The data collected from the public survey “will help determine the theme and messaging of the permanent Harriet Tubman statue to make it unique to Philadelphia and inform the physical design and statue’s text.”
We are taking a page from the Black Emergency Cultural Coalition, a watchdog group whose members included Benny Andrews, Romare Bearden and Harlem residents. We are protesting the planned exclusion of Black, women and other underrepresented artists from competing for the Harriet Tubman commission. Much to their chagrin, Mayor Kenney and Kelly Lee cannot just give Wofford the commission. While professional services contracts are not subject to the lowest responsible bidder requirement of the Home Rule Charter, OACCE must follow the procurement process and advertise a non-competitively bid contracting opportunity. The notice must include the criteria by which the selection will be made.
Notice must be posted to eContract Philly. Applicants will have at least 14 days to submit a proposal. When the notice of “New Contract Opportunities” is posted, we will give the signal.
We will share the Request for Proposals on social media and via email. Established artists should be able to respond within the timeframe. We already know the location of the statue, City Hall’s North Apron, and some design elements, granite base and at least nine feet tall. The theme(s) will be announced once the public survey data are compiled. So start visualizing your design. By the way, don’t be concerned that submitting a proposal will jeopardize future opportunities with OACCE. Kelly Lee and Jim “I’ll be happy when I’m not here, when I’m not mayor” Kenney are lame ducks. Kenney leaves office in January 2024.
Harriet Tubman, the most celebrated conductor on the Underground Railroad, is memorialized in countless dissertations, history books, novels, documentaries, artworks, songs, and movies.
According to the Monument Lab National Audit, Harriet is among the historical figures with the most public monuments. As of December 2021, there were 21 public memorials of Harriet in cities across the country.
A new statue of Harriet Tubman was unveiled on the grounds of Lincoln Park in Pomona, California on July 4, 2022.
Philadelphia’s Office of Arts, Culture and the Creative Economy (OACCE) plans to award a no-bid commission to Wesley Wofford, creator of the traveling statue, The Journey to Freedom, which was installed on the North Apron of City Hall from January 11 to March 31, 2022.
OACCE recently held a public engagement session to “help inform the design of this statue.”
Public Art Director Marguerite Anglin said the lack of an open call was due to the “tremendous outpouring of love and pride for the Journey to Freedom statue.” Maisha Ongoza, a member of Celebrating the Legacy of Nana Harriet Tubman Committee, schooled Anglin and her boss, Chief Cultural Officer and OACCE Director Kelly Lee:
Ongoza and other community members protested the lack of transparency. The decision to award Wofford a no-bid commission was done without public input. Yet the public is expected to engage in “listening” sessions, surveys and other forums designed to pick their brain for free while an artist whose studio is located in the mountains of North Carolina, a former Confederate state, picks up a $500,000 check.
Wofford brings nothing unique to the table about Nana Harriet or her time in Philadelphia. There is no reason the public feedback that OACCE plans to share with Wofford cannot be shared in an open call with, among others, the artists who have already created Harriet Tubman statues.
Kelly Lee dismissed concerns about denying Black and other underrepresented artists an opportunity to compete for the commission. She said, “Our office has the ability to commission a specific artist to do a specific piece.” Lee’s office has awarded one non-competitively bid commission to a performing artist to do a specific piece since 2017. The handful of non-bid contracts were awarded to conservation professionals.
The community is fighting to ensure there’s not a second no-bid commission. Ongoza told Lee: “Why can’t we have an open call process? We feel cheated that we can’t get a chance see what other artists could offer up for us. We’re just locked into what we’ve seen already when we know the potential of others is also just as great.”
Harriet Tubman made her escape from bondage under the cover of darkness. OACCE made its decision to give Wesley Wofford a half-million dollar commission under the cover of darkness. I am going to shine light on this “unique situation” by filing Right-to-Know requests with the Mayor’s Office, OACCE and the Procurement Department. Kelly Lee wants the community to believe she can unilaterally award a non-competitively bid contract. She cannot. Sole source contracts must be approved in writing by the Procurement Commissioner, the Finance Director and the City Solicitor.
This year marks the 200th anniversary of the birth of Harriet Tubman, the most celebrated conductor of the Underground Railroad. Like most enslaved Black Americans, she did not know her date of her birth so we remember Harriet on the day of her death, March 10, 1913.