Tuskegee, Alabama, is associated with Tuskegee University, the Tuskegee Airmen, Booker T. Washington, and George Washington Carver. Named after the Taskigi, it is the site of the first law school in Alabama and had local schools long before there was a public school system. Tuskegee Normal School for Colored Teachers (now Tuskegee University) was pivotal to the city being a beacon of African American achievement for a century. The birthplace of civil rights icon Rosa Parks, radio host Tom Joyner, and singer Lionel Richie, it is where Olympic star Alice Coachman was dubbed the "Tuskegee Flash" and where important court cases guaranteeing voting rights and equal education were fought. The city was also the site of the infamous medical experiment that threatened to stain the school's triumphant legacy.
In the 1960s, Tuscaloosa drew national attention when the University of Alabama was fully integrated. The decade also marked the arrival of Paul "Bear" Bryant as head coach of Alabama's football team and the majority of Frank Anthony Rose's tenure as president--a period characterized by race mediation and increases in enrollment, assets, and academic standards. For the next 50 years, sports, education, cultural and recreational opportunities, and business developments contributed to the city and the lifestyles of its residents. Tuscaloosa has associations with people such as F. David Mathews (who concurrently served as president of Alabama and as a secretary under Pres. Gerald Ford), writer Richard Yates (Revolutionary Road), actress Sela Ward, and quarterback Joe Namath.
This gathering of sixty images, along with the essays that frame them, gives us a new way to think about the too often troubled status of historically black colleges and universities (HBCUs). The bell in the clock tower at Atlanta’s Morris Brown College bears an inscription about the ideal of educational access, that it be “without regard to sex, race, or color.” Yet most of the Morris Brown campus has lain silent for more than a decade. Established in 1881, it was all but shut down in 2002 after years of fiscal hardship were capped by a mismanagement scandal. Pride still runs high among its alumni, however, and its current leadership vows to revive the school. Meanwhile, as Andrew Feiler’s stirring photos show, Morris Brown is literally falling apart. In the spirit of those photographers who have documented the physical decline of our valued institutions—from small family farms to entire cities—Feiler points his lens at one embattled place and dares us to look away. Aiming to “open minds, trigger emotion, stimulate discussion, and, perhaps, prompt action,” his images project a new layer of meaning onto the Morris Brown story. We see classrooms, dorms, gym facilities, and other spaces no longer alive with students, faculty, and staff but rather mired in a state of uncertainty where hopes of normality’s return mutely battle a host of unwelcome alternate futures. We see how time passes without regard for academic years, regular maintenance cycles, or the other comings and goings that would ordinarily call attention to the leaks, invading animals, acts of vandalism, and other forces working to peel the paint from Morris Brown’s walls, buckle its floors, and molder its furnishings. We see garbage piling up alongside sports trophies, scientific equipment, and other vestiges of the prouder past we would rather remember. Feiler’s photos are accompanied by writings that address the college’s profound impact on one family, history and memory, the documentary and narrative powers of photography, and the place of HBCUs in American public life. Images and text combine powerfully to show us what happens when a place meant to be honored is left to its own.
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