Tag Archives: River of Names

River Of Names: Time For Tile Mural To Unite, Not Divide, Westport

Posted on December 20, 2022 | 44 comments

The River of Names was created to bring Westport together.

Unfortunately, over the past few days it’s become a symbol of division.

The motives of organizations and individuals — and their reputations — have been questioned, maligned and impugned. Fingers have been pointed (and middle fingers raised), by folks who always worked together — and always should.

The time has come to put all that vitriol aside. Sure, it’s the holiday season. But it’s also the right thing to do.

The River of Names, when it hung in the lower level of the Westport Library.

The River of Names is clearly a beloved, integral part of Westport. It means a lot to many people — those who contributed to it, or whose families did. Those who bought tiles in loved ones’ memories. (And not just “historical” tiles. Hundreds of others simply bear names and dates.)

It is, quite simply, an important piece of our town.

But it’s not a perfect one.

A number of people and groups have worked behind the scenes to seek a resolution to the tile mural situation. Several themes have emerged:

  • The Westport Library seems willing to extend the storage lease, while discussions about a solution continue.
  • There may be places in the Library where it could be rehung — for example, the Komansky Room — with structural improvements.
  • If the Library is not a feasible spot, other places — Town Hall or the Main Street pedestrian tunnel, perhaps — might work.
  • Because of its construction, it’s unfeasible to cut the mural. Its “river-like” theme mirrors Westport history — but it’s incomplete. More information and details, more nuance, a more modern interpretation of that history is crucial. Residents and visitors alike must understand where our town came from, so we can appreciate — and make it better — today and tomorrow.

Wherever it goes, the River of Names needs to be put in context. It was a work of an earlier time — a snapshot of some historical moments.

Many other moments were omitted. We’ve learned of more, and our views of our history have changed, in the years since.

The time is ripe to add supplementary and interpretive material. It can be done in many ways, using old-fashioned tiles or new technology.

The “River of Names 2.0” could even be a fantastic new fundraiser for the Westport Library.

Let’s turn the corner on the River of Names controversy. (Photo/Lynn Untermeyer Miller)

We’re all on the same page. Let’s all work together — the Library, Westport Museum for History & Culture, TEAM Westport, Westport Arts Advisory Council, other town organizations, and individuals on all sides of the debate — to find a solution.

Please add your positive thoughts to the “Comments” section.

That’s right: Only constructive, positive comments will be allowed. No name-calling, shaming or negativity at all. Thank you.

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Posted in Arts, Library

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Tile Mural: History, Revisited And Re-Explained

Posted on December 17, 2022 | 23 comments

When the Westport Library asked the Westport History for Museum & Culture for advice on the “River of Names” mural, the Museum cited a number of what they called “historical inaccuracies, inaccurate representations, and perhaps most importantly glaring omissions of fact based on idealized Euro-centric views of the past.”

Dorothy Curran disagrees.

She wrote and helped publish an art historical catalogue that accompanied the tile mural, and upon which the Museum based much of its criticism. Offering a fascinating (though of course incomplete) tour of local history, Dorothy writes:

In October 2021, the Westport Library, seeking not to return the “River of Names” historical bas-relief ceramic donor tile mural to the Library interior, asked Ramin Ganeshram, executive director of the Westport Museum for History & Culture, for a Diversity, Equity and Inclusion opinion on the mural’s content.

Ramin, along with WMHC colleague Cheryl Bliss, focused not on the mural itself, but on “River of Names: An Historical Tile Mural at the Westport Public Library” — my accompanying art historical catalogue. As a then RTM-appointed Library trustee, I donated my time writing it and raising another $25,000 to pay for photography, graphic design, printing, binding and shipping of 5,000 copies.

The aim was for a portable “art docent tour” of the mural, and a long-term book sale revenue stream for the Library. (If you need last-minute holiday gifts, the beautifully printed and bound volumes still sell, for $5 or less, at the Westport Book Shop. All proceeds benefit the Westport Library.)

Here are my reactions to the DEI report:

Tile #1, 1637 Puritans & Pequots end Swamp War; Puritans plan settlement

The Westport Museum of History & Culture says that

The Pequot War of 1636-1638 began as a colonial Puritan response to the alleged murders of English colonists by Pequots. Rival tribes joined the Puritan initiative, but were horrified by English tactics. Puritans attacked and burned the Pequot village in Mystic, massacring most of the tribe’s women, children and elderly. Surviving Pequots sought to migrate west, but the English followed. The final battle — the Fairfield Swamp Fight in 1637, near what today is I-95 Exit 19 — was devastating. But thanks to intervention by Thomas Stanton, who spoke Algonquian, a massacre was avoided. For a very brief overview of a very complex series of events, here is a link with footnotes and bibliography for deeper study: https://en.wikipedia.org/wiki/Pequot_War

Why was this event included in the River of Names? Because following the Pequots across Connecticut was how Roger Ludlowe discovered Fairfield’s lovely salt meadows and decided to move his settlers from Windsor’s flood-prone Connecticut River banks to Fairfield. Westport later formed from parts of Fairfield and Norwalk. Neither the caption nor the catalogue’s summary provide the full story, but together they certainly inspire curiosity.

Tile #2, 1648 Pequannock Tribe agrees to sell “Machamux” to the five “Bankside” farmers

Yes, the concept of “selling” land to the English colonists was alien to migratory Native American tribes, but colonial records do document acceptance of the English purchase offer and remuneration. As for the Native Americans’ skin color, it is darker than the English, but not as deep as exhibit model photographs provided by the Mashantucket Pequot Museum. When I first saw this tile, I remarked to artist Marion Grebow; “They look like ghosts.” She smiled, knowingly. Very aware of how local Native Americans were ravaged by European diseases and warfare, she was making an artistic statement.

Tile #7, 1705 John Cable builds tidal mill, produces corn flour for emerging West Indies trade and Tile # 10, 1775 E. (Ebenezer) Coley builds saltbox home, shop and wharf; Tile #13,  1790 E. (Ebenezer) Jesup Builds Wharf on Saugatuck’s east Bank

Under British colonial rule, trade by its American colonies was restricted to England, and exports, to raw materials like lumber, in exchange for English finished goods. But thanks to lax enforcement, many locals became maritime commerce entrepreneurs (aka black-market bootleggers), trading products like corn meal for Caribbean molasses and rum. After 1763, increased enforcement helped precipitate the American Revolution. Yes, there were slaves in Puritan Connecticut, including enslaved Pequot survivors, but what now is Westport never was a hub for the larger transatlantic “triangular trade,” involving larger ships, sailing to Africa.

Tile #11, 1756, 1775, 1780, 1789 George Washington’s diaries record four trips through town, including an overnight stay at Marvin’s Tavern

You complain that in 1789, when Washington stayed overnight at Marvin’s Tavern: “The wall features other details of historical inaccuracy such as… Washington’s visit to Marvin Tavern in 1789… As a point of fact, Washington only rode white horses, however he would have been travelling by carriage during this presidential tour. Further, in 1789 he was President and made a point of wearing civilian clothing—not his Continental Army uniform as portrayed on the tile.”

In my catalogue discussion of Tile #11, I wrote: “By November, 1789, in reality, Washington was the first President of the 13 United States, a national icon, weary of war and no longer in military attire. Literal reality, however, is not Grebow’s primary concern. Instead, by returning Trumbull’s image of Washington, the Yorktown victor, the archetypal American Revolutionary War hero, to Marvin’s Inn in 1789, Grebow expresses completion of a cycle. Among the people who welcomed him back in 1789 were some who first greeted him in 1775, before the war began, some who suffered loss of life and property in 1777 when the war arrived here, and some who witnessed his 1780 meeting here with the French to end the war. While few if any were present at Yorktown when the fulfillment of this vision was realized, his victory there validated the personal and political dreams and values he epitomized and they shared. Grebow’s Washington, by extending a greeting with the same hand he refused to a British general, offers both a politically powerful and profoundly human statement. Grebow’s Washington, like the one we all revere, transcends the limits of space and time.”

P.S. Washington notes in his diary that he was less than pleased with his stay at Marvin’s Inn, which makes his gesture even more gracious.

Tile #17, 1810 Catherine Burr Sherwood, farm wife & mother of ten, including triplet sea captains

Commemorating the birth of the Sherwood triplets during a heavy snowstorm, this tile illuminates the vital, often overlooked impact of women in local colonial history, including building and maintaining families with very little medical assistance. In fact, at about the same time that Catherine Burr Sherwood gave birth to her eighth, ninth and tenth children (the triplets), her sister-in-law died in childbirth, so the family then had 11 to raise. The later maritime careers of the 3 triplets are a topic for separate study.

Tile #19, 1832 Saugatuck Congregational Church and Saugatuck Fire Co. established

Well into the 19th century, Puritan governance practices persisted in Connecticut. For example, new towns first needed a new seat of government: a Congregational church, with selectmen presiding. Only after the Saugatuck Church’s 1832 completion could Westport petition the state for a town charter. Likewise, forming the Saugatuck Fire Co. ended emergency dependence on Norwalk and Fairfield. The scope, limits and flaws of the 1818 Connecticut Constitution are topics for separate study.

Tile #18, 1814 Saugatuck Manufacturing Co. makes cotton yarn at Richmondville Ave. site and Tile #20, 1835 R.H. Haight’s tannery, later Kemper Tannery, makes leather hat bands 

British rule forbade American colonial manufacturing, forcing Americans to buy British finished goods, at Britain’s prices. After American manufacturing began, the British War of 1812 coastal shipping blockade caused such severe economic hardship that Connecticut briefly considered secession from the new union. Happily, the war ended.

That era’s Connecticut manufacturers (and families, for supplemental income) relied on labor by children, immigrants, apprentices and indentured servants for success. Most children, like their parents, attained only an elementary education, but received training in other skills needed for farm and household management.

Neither tile can begin to probe the era’s labor practices, but each can inspire curiosity to learn more.

Tile #24, 1852 First Bank

You are correct that: “Descriptions of the building of the Westport Bank by Horace Staples and later refurbishment of the property at large (National Hall) on tile #24 (Curran) fails to indicate that the National Hall portion of the building referred to the 2nd floor where a theater was located. Minstrel shows, caricaturizing African Americans, were a popular attraction at this theater.”

That’s asking a lot of an already crowded 6″x4″ tile.

Tile #25, 1840’s, 1850’s & 1860’s Emerging diversity of religious worship

Though this tile depicts a “diversity of religions,” groups assessing the River of Names say that it presents a very Christian-centric view of Westport’s history. There are no tiles for other religions.

In mid-19th century Westport, where the 1832 Saugatuck Congregational Church was the seat of government, one way to observe emerging diversity was construction of churches by other denominations: Episcopalian, Methodist and Catholic. Yes, other religious congregations existed then, but were not in construction mode. A 6″x8″tile can only prompt curiosity to learn more.

Tile #35, 1899 First autos on Post Road

Your complaint: “The tile #35 (Curran) referring to the first automobiles in the town misses the opportunity to talk about the Toquet Motor Company here in Westport which produce a motor car earlier than Ford.”

As my catalogue states, #35 depicts an eyewitness account by local historian Edward Coley Birge, astonished at being passed on the Post Road by a “self-propelled open buggy,” likely a Stanley Steamer. Discussing Toquet Motor Company was not a fit for this tile. That does not make it historically inaccurate, Euro-centric or exclusive.

Tile #49, 1947 Lucille Lortel founds the White Barn Theatre

Yes, Lucille (not “Louise”) Lortel protected, nurtured and paid talented actors, writers, composers and designers. Agreed that not much can be said on a 6″x8″ tile about the “the opportunity she gave to the Black performers in the era of segregation.” Likewise, not much could be said here about her equally important role in continuing to employ “unemployable” McCarthy-era black-listed writers and actors. But naming her and the White Barn on a tile is a start.

Tile #68, 1980 Westport Historical Society, established 1889, acquires its home, Wheeler House, built 1795

Your complaint: “The information about Westport Museum (Westport Historical Society) on tiles #68 (Curran) is inaccurate. The original building on this site was a 2nd period colonial style, like the building currently across the street. The ocular windows in the current structure are not unique as stated—two other Italianate houses on Main Street feature them.”

In fact, the 12″x12″ River of Names tile #79 makes no such statement. My catalogue does refer to the original structure (still inside the Bradley-Wheeler house) as probably a saltbox. Agreed that ocular windows per se are not a unique feature of Italianate architecture.

P.S. What does this discussion of architectural detail have to do with diversity, equity and inclusion?

Tile #79, 1996 Bradley-Wheeler Museum restored

You complain that: “The tile referring to the Bradley Wheeler barn refers to the statues on our property as sculptures—they are, in fact, miniature golf statues, made for use on a private miniature golf course. They are not sculptures.”

Tile #79 makes no such statement. My catalogue does call them sculptures, mostly because they are free-standing folk art created by famous, fun-loving Westport artists, whose major commissions included work at Disney World. The Einsel valentines to each other were remarkable.

Re: your comment that “The description refers to the towns “diverse cultural heritage” although there is virtually no representation of non-Europeans on the picture tiles of the River of Names Wall.”

The mural’s 84 picture tiles, ranging in size from 6″x4″ to 12″x12,” and covering over 350 years, offer only a glimpse of our history. My catalogue merely enriches that glimpse. In no way does that mean that this peek at our history is, in your language, “whitewashed.”

Diverse cultural heritage means many things. New England’s Puritan colonists were British subjects. Many River of Names tiles depict no people at all; instead, they show architecture and boats extending British tradition. Collectively, that makes our depiction of New England colonial history not so much “Euro-centric” as Anglo-centric. Over time, our town, state and country have grown and evolved. Today, looking back at the long, imperfect arc of our dynamic cumulative history, warts and all, I think most Westporters simply would call it “American.”

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Posted in History, Library

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[OPINION] History Museum Must Acknowledge Its Own Past, Too

Posted on December 14, 2022 | 46 comments

People who live in glass houses — or those built by slave owners — should not throw stones.

Fred Cantor is a longtime Westporter. and a Staples High School Class of 1971 graduate. Passionate about local history, he co-curated a 2017 exhibit — “The High School That Rocked!” at the then-Westport Historical Society.

Fred writes:

Having read the complete letter submitted by the Westport Museum for History and Culture, I think its critique of the River of Names mural has gone too far.

Quite frankly, it seems that the Museum has failed in a material way to practice what it preaches.

The inconsistency seems to be blatant with the way the WMHC criticizes the omission of information about Ebenezer Coley on the tile wall — which clearly was never meant to be a comprehensive history of Westport — and then the way the Museum omits or otherwise buries the same information on its own website.

The section of the WMHC letter to the Westport Library re Ebenezer Coley states:

With respect to the tile #7 (Curran) 1705 — Tidal mill for emerging West Indies trade; 1775 — Coley Store; Tile #13 (Curran) 1790 E. (Ebenezer) Jesup Builds Wharf on Saugatuck’s east Bank; Tile # 10 (Curran) 1775 E. (Ebenezer) Coley builds saltbox home, shop and wharf. The West Indies trade specifically refers to the Transatlantic Slave Trade in which local farmers and millers produced goods to sell to West Indian slave plantations. These plantations provided the greatest source of income for men like Coley and Jesup — who were among those who owned the greatest number of enslaved people in the town.

The WMHC’s headquarters — the Bradley-Wheeler house — happens to have been built by Ebenezer Coley. But visitors to the Museum’s website would have no clue of that unless they clicked through a number of links.

The primary “About WM link” on the WMHC site offers only the following background information on the Bradley-Wheeler House

The FAQ link on the site states simply: “Our headquarters building was originally a 5-bay Colonial House built around 1795.”  Two more sentences follow re the structure (with no mention of Ebenezer Coley).

Visitors to the WMHC site will only become aware of the Coley family connection to the Museum headquarters and the Coley family’s involvement in slavery if they manage to reach the “Westport Driving Tour” portion of the site, and then click on the icons for the Bradley-Wheeler House and Coley’s Saugatuck Store.

Even then, there is still not all of the information the WMHC criticized the River of Names mural for omitting — most notably that “These plantations provided the greatest source of income for men like Coley and Jesup — who were among those who owned the greatest number of enslaved people in the town.”

It strikes me as very harsh to criticize the River of Names mural — which again, was never meant to be a comprehensive history of Westport — for failing to include all of the Coley family background when a) the WMHC website seemingly fails to do so as well and b) the family background that is included is almost treated like disclosures that are buried in small print in certain ads we are all familiar with.

I wrote 2 emails in the past 2 days to Museum executive cirector Ramin Ganeshram. One stated in part: “Why not disclose up front in the ‘About WM’ section — where you have a write-up about the Bradley-Wheeler House — the fact that the WMHC’s headquarters have such a close connection to the history of slavery in America? Wouldn’t such a disclosure be precisely in sync with the mission statement the WMHC emphasizes on its home page?”

I have so far failed to receive an answer.

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Posted in History, Library, Looking back

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Westport Museum’s “River Of Names” Letter

Posted on December 11, 2022 | 58 comments

Yesterday’s story on the Westport Library’s “River of Names” mural was one of the longest I’ve ever posted on “06880.”

If I had included the Westport Museum for History & Culture’s 1,600-word, October 2021 letter to Library director Bill Harmer, it would have been even longer.

Here is what Museum director Ranim Ganeshram and chairperson, history educator and archivist Cheryl Bliss wrote then, as the Library was discussing next steps for the mural.

They note in detail “historical inaccuracies, inaccurate representations, and
perhaps most importantly glaring omissions of fact based on idealized Euro-centric views of the past.”

They recommended re-installation of the mural with replacement of tiles that “demonstrate history accurately.”

If the panels were not replaced, the report said that “extensive wall labels and text panels should accompany it to point out and counteract the errors and misconceptions it represents. The wall could be an object lesson about how the viewpoints of the era in which it was created was an informing factor in this Eurocentric view. Correction of the history on the digital site should follow the same format.”

Here is that October 2021 letter to Harmer:

=======================================================

Myself, Cheryl Bliss (chairperson, history educator and archivist), and various researchers here at Westport Museum have reviewed the Westport Library’s River of Names Tile Wall per your concerns in anticipation of its potential re-installation. It is our opinion that the wall is rife with historical inaccuracy and a myopic view of history that will be hurtful and unwelcoming to modern viewers. The details of our assessment follow.

It must first be said that projects like the Westport Library’s River of Names which endeavor to use “non-traditional” methods—in this case an art installation—to teach local history enter the realm of Public History defined by the National Council on Public History as “history beyond the walls of a traditional classroom.”

Those practicing Public History–Public Historians–span fields and disciplines and may include teachers, librarians, museum professionals, artists and many others. However, regardless of the professional discipline from which public historians may originate, they are called upon to apply rigorous methods to ensure the history presented is accurate: “In terms of intellectual approach, the theory and methodology of public history remain firmly in the discipline of history, and all good public history rests on sound scholarship.”

In the opinion of Westport Museum, The River of Names Tile Wall, does not meet the standard of sound scholarship. The Wall features historical inaccuracies, inaccurate representations, and perhaps most importantly glaring omissions of fact based on idealized Euro-centric views of the past.

Beginning with tile numbered 1 in River of Names: A History of Westport, CT 1637-1998 in bas-relief ceramic tile donor mural catalog by Dorothy Curran: 1637–Puritans and Pequots End The Swamp War.

This is an entirely misleading tile and description. There was not simply an end to the Pequot War but rather a complete massacre of native people by European colonists. The implication within the description is that “peace-loving Pequannock” were supporters of the Puritan colonists who had driven and massacred members of fellow tribes. There is no historical River of Names Historical Accuracy proof of this. Rather tribal oral history and European written history indicates that the tribespeople of the various tribes of what would become Westport (Paugusset-Sasqua-Aspetuck-Pequannok) supported the Pequot in the fight. When the Europeans prevailed, native men were slaughtered, and the women and children enslaved. The rosy view of this event is both inaccurate and extremely insensitive to the remaining tribal people in the area. The flimsy explanation that native men are depicted as white because they are “ghosts” is a paltry excuse for lack of care in the depiction of non-white individuals.

Tile #2 (Curran) entitled: 1648: Pequannock Tribe agrees to sell “Machamux” to the five “Bank-side” farmers” This persistent myth that local tribes “sold” their property to Europeans has been widely discounted by scholars of native history, colonial history, and legal history. Research into land transactions between natives and Europeans indicate that native individuals–who did not operate within Western legal constructs–were not always aware of the nature of the “contracts” to which they agreed. This simplistic representation belies a long, legally documented history of betrayal and violence of and toward native people in the area for the purpose of taking their land. Again, the indigenous people are depicted as white.

With respect to the tile #7 (Curran) 1705—Tidal mill for emerging West Indies trade; 1775—Coley Store; Tile #13 (Curran) 1790 E. (Ebenezer) Jesup Builds Wharf on Saugatuck’s east Bank; Tile # 10 (Curran) 1775 E. (Ebenezer) Coley builds saltbox home, shop and wharf. The West Indies trade specifically refers to the Transatlantic Slave Trade in which local farmers and millers produced goods to sell to West Indian slave plantations. These plantations provided the greatest source of income for men like Coley and Jesup—who were among those who owned the greatest number of enslaved people in the town. This is not indicated anywhere on the wall or the write up. Last, the Coley store was not a residence as depicted in the tile and in the tile’s description,

Tile #17 (Curran) 1810 tile referring to the Captains Sherwood (triplets) also omits that the triplets conducted regular business with the American Southern Slave plantations after the end of slavery in the British West Indies. The reference to the 1814 Saugatuck Manufacturing Company focusing on cotton twine and cotton goods fails to consider that cotton from Southern Slave
plantations, came into Westport on trading vessels. Without this product of slavery mills such as this one would not have prospered.

The description of Tile #19 (Curran) 1832 founding of Saugatuck Congregational Church refers to the1818 Connecticut Constitution—but does not make it clear that this document was created in part to disenfranchise non-white voters specifically and legally by including a race requirement. This was a specific response to the enfranchisement of formerly enslaved men emancipated during Connecticut’s Gradual Abolition (1784-1848).

Tiles #18 & #20 ( about the Kemper Tannery and Saugatuck Manufacturing Company do not indicate that immigrants and child laborers were employed at this site while “1840’s, 1850’s & 1860’sEmerging diversity of religious worship” only refers to Christian religious institutions. The write up about Louise Lortel omits what is perhaps considered her greatest legacy—the opportunity she gave to the Black performers in the era of segregation. The description refers to the towns “diverse cultural heritage” although there is virtually no representation of non-Europeans on the picture tiles of the River of Names Wall.

Descriptions of the building of the Westport Bank by Horace Staples and later refurbishment of the property at large (National Hall) on tile #24 (Curran) fails to indicate that the National Hall portion of the building referred to the 2nd floor where a theater was located. Minstrel shows, caricaturizing African Americans, were a popular attraction at this theater. The wall features other details of historical inaccuracy such as the tile depicting Washington’s visit to Marvin Tavern in 1789 on tile #11 (Curran). As a point of fact, Washington only rode white horses, however he would have been travelling by carriage during this presidential tour. Further, in 1789 he was President and made a point of wearing civilian clothing—not his Continental Army uniform as portrayed on the tile.

The tile #35 (Curran) referring to the first automobiles in the town misses the opportunity to talk about the Toquet Motor Company here in Westport which produce a motor car earlier than Ford.

The information about Westport Museum (Westport Historical Society) on tiles #68 (Curran) is inaccurate. The original building on this site was a 2nd period colonial style, like the building currently across the street. The ocular windows in the current structure are not unique as stated—two other Italianate houses on Main Street feature them. The tile referring to the Bradley Wheeler barn refers to the statues on our property as sculptures—they are, in fact, miniature golf statues, made for use on a private miniature golf course. They are not sculptures.

In conclusion, the River of Names represent a singular view of history, that is an exemplar of the time in which it was produced: A time in which a Eurocentric lens of the past, devoid of the complexity of the eras it purports to depict was acceptable. The omission of provable facts that could offer context to the actual history was the norm for the time the River was installed but it is inappropriate given the call upon public historians to present a holistic and accurate view of history.

We have no doubt that those who worked on this project when it was installed did the best they could, given the level of their research skills and the information that was available to them. Further, the way the tiles are presented was, no doubt, acceptable at the time they were made.

Certainly no one is at fault for being a product of their own era and viewing the world through that lens. However, as is often the case as time marches on, new information and new viewpoints come to light. When historical data makes it clear that a misrepresentation of fact has occurred it is the obligation of any institution engaging in public history to correct those errors.

Most of all, and perhaps most importantly, the singular view of history represented on these tiles present a one-note image of the town that has never been true. The wall effectively erases indigenous people, African Americans, Jews, and others who were part of the story—from the beginning—even when that story was not pretty. It is hurtful and diminishing to our diverse citizenry—both within Westport and visitors from outside of the town—to see a proudly whitewashed display of this kind without explanation.

Within our field of public history there is constant discussion about how to deal with monuments, statues, history books, panels and other items that have since proven to be false in their information or offensive in their presentation. It is our opinion that should the River of Names be re-installed, the tiles that represent history should be replaced entirely with ones that demonstrate history accurately. Should the panels not be replaced, extensive wall labels and text panels should accompany it to point out and counteract the errors and misconceptions it represents. The wall could be an object lesson about how the viewpoints of the era in which it was created was an informing factor in this Eurocentric view. Correction of the history on the digital site should follow the same format.

Last, we suggest that you might want to contact Dr. Matthew Warshauer in the History Department of Central Connecticut State University. He has done extensive work around revealing hidden and erased histories, particularly as it relates to non-European populations in Connecticut. I believe he may be best placed to give advice on this matter. Should you choose to contact Dr. Warshauer please feel free to share this assessment with him.

Sincerely,
Ramin Ganeshram               Cheryl Bliss
Executive Director                Chairperso

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Posted in History, Library

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Library Won’t Re-Hang Tile Mural; Westporter Responds

Posted on December 10, 2022 | 99 comments

In 1998, amid great fanfare, the Westport Library unveiled the River of Names. It quickly became a beloved attraction, on the lower level.

To help with its renovation, nearly 2,000 donors had contributed $350,000. Award-winning artist and sculptor Marion Grebow created a 6 foot-by-26 ceramic mural.

Eighty-four tiles depicted important events in Westport history. Over 1,000 more bore the names of individuals, families and organizations who also helped fund the Library expansion.

The River of Names. Picture tiles depict historic Westport events. Other tiles include family and organization names. For smaller donations, names were engraved on the “books” at the top and bottom.

In 2017, preparing for a new “transformation” project, the River of Names was professionally removed, and stored in a climate-controlled warehouse. Library officials worked with Grebow and others to find a new spot for the mural.

But the artist did not want it to “bend” on 2 walls. No suitable site could be found that was long enough, and able to support its weight.

Each piece was digitized. The mural is now available online, with accompanying narratives. (Click here to see.)

In addition, each donor’s name was put on a plaque. It hangs on the main floor.

In the quarter century since the River of Names was commissioned, Americans have looked at our history through a new lens — one that seeks to acknowledge formerly overlooked groups, and right past wrongs.

And in just the 5 years since the mural was stored, statues and monuments have been removed. Buildings and foundations have been renamed.

In accordance with its motto — “Open to All” — the Library consulted with 3 groups: the Westport Arts Advisory Committee, Westport Museum for History & Culture, and TEAM Westport.

All found significant issues with the River of Names’ depiction of town history. (The WAAC’s Diversity Task Force report appears at the end of this story.)

The Westport Museum of History & Culture says that this tile about the Swamp War is inaccurate and misleading; it was actually a “slaughter.” In addition, “the flimsy explanation that native men are depicted as white because they are ‘ghosts’ is a paltry excuse for lack of care inthe depiction of non-white individuals.”

Major events, like the presence of hundreds of enslaved people, the existence of a Black neighborhood at 12 1/2 Main Street — and the never-explained fire that destroyed it — were not included.

The history of Indigenous people was portrayed inaccurately — including, significantly, the massacre that ended the Great Swamp War, and the “sale” of Machamux by the Pequannock tribe to the Bank-side Farmers. Native Americans were portrayed as white.

There was no acknowledgement of the presence and achievements of non-Christian communities (or earlier restrictive covenants). No tile depicted Rev. Martin Luther King’s appearance at Temple Israel, and the congregation’s strong support of the civil rights movement.

Eight months ago, Library officials offered to work with Dorothy Curran — a longtime local volunteer with a passion for history, who had been a driving force behind the River of Names project — and others.

The goal was to gift it to someone, or some group, willing to find a new home for the mural, or continue paying for its storage. The Library has been responsible for those fees since 2017.

A deadline of this month was set.

Library trustee Scott Bennewitz, who serves as vice president, says there has been “very limited response,” and no offers to house the mural, or pay for storage.

Recently, the 19-member board of trustees voted unanimously to terminate the storage contract. The mural may be disposed of by January 15.

Though this tile depicts a “diversity” of religions, groups assessing the River of Names say it presents a very Christian-centric view of Westport’s history. There are no tiles for other religions.

“This decision was not made in a vacuum,” says Library director Bill Harmer. “A great deal of research and discussion went into it.

“The bottom line is, the mural is no longer appropriate. It is exclusive, obsolete and offensive, in ways no one could conceive of in the 1990s. It does not represent the inclusive Westport of 2022.”

Donors contributed with “good will,” he notes. “Everyone who participated had good intentions. We are grateful for their generosity. and acknowledge all of them, on a plaque in a very prominent place.”

“The Library is not a town organization, but we do receive substantial funding from it,” Bennewitz adds.

“We should align ourselves with the town’s values. There’s a new plaque behind Town Hall, and others downtown, that depict a better view of our history than before. The Arts Advisory Committee has a DEI statement that we align with also.”

“We think this is a reasonable path forward. We still hope we can work with Dorothy, or any other reasonable party, toward funding.”

Individuals or groups interested in the River of Names should contact Library board of trustees president Jeremy Price: price.jeremy@gmail.com.

Dorothy Curran disagrees strongly with the Library decision. She writes:

Most Westport Library users remember the River of Names historical bas-relief ceramic donor tile mural.

Until the Library’s 2019-20 renovation, it graced the Riverwalk level hallway. Admirers included nearly 2,000 donors, who in 1997-98 contributed $350,000 to commission award-winning artist and sculptor Marion Grebow to create the work, along with the tens of thousands who visited each year, often accompanied by awed children or grandchildren, or envious out-of-town visitors.

The 84 “picture tiles” and their brief captions offered a glimpse at 4 centuries of local history. If one stood close to the mural at the far end, looking west across the surface toward the Saugatuck, the light shimmered on the gleaming white bas-relief wave tiles, just like moonlight on the river.

The River of Names hung in the lower level of the Westport Library.

With patience and trust, since 2019 — when the Library hired a fine arts firm to remove the River of Names to safe, temporary storage to facilitate a new round of construction — these admirers have awaited its return.

After all, isn’t this work a Library-owned asset? Doesn’t the Library receive 75% of its annual budget from town taxpayers, and do right by its donors and patrons?

However, in a letter last week to Stephen Nevas (attorney for mural artist Marion Grebow) attorney Alan Neigher (on behalf of Jeremy Price, president of the Westport Library Association board of trustees) conveyed that the Library was terminating its River of Names storage contract and ordering that the popular work of public art — a 6’2″ x 26’4″ historical ceramic donor tile mural with 1,927 donor surfaces on 1,162 separate tiles — be “disposed of,” no later than January 15, 2023.

One of the 1,162 River of Names tiles.

Isn’t this the same River of Names ceramic bas-relief mural that the Library paid a fine arts firm to remove in 2019 and store temporarily, in a fine arts storage facility, until library renovation and construction were complete?

Isn’t this the mural with 84 bas-relief historical picture tiles depicting 4 centuries of iconic moments, architecture and themes from the history of what today is Westport? The one with 50 rows and 29 columns of 2′ x 6″ gleaming white “wave” tiles (993 in all)? And 85 5″ x 12″ bookshelf tiles, each with 10 book spines, bearing donor names?

Yes.

One of the tiles shows Stevan Dohanos’ Saturday Evening Post cover of the World War II memorial outside the old Town Hall.

But this also is the same mural that the Library executive director and board then said could never return to the renovated building, because their plan never asked for a single flat wall for it.

Instead, near the children’s section, as consolation they offered a digital database flat screen display of the individual River of Names tiles so that young patrons could search for tile photos by donor name or subject. It now is dark.

And then — after construction was complete, and immediately following town approval on October 13, 2021 of a new Diversity, Equity and Inclusion policy — the Library sought to banish its return on the grounds of DEI content failure, with correspondence solicited from the Westport Museum of History & Culture, TEAM Westport and the Westport Arts Advisory Council.

In general, these organizations noted that 84 briefly captioned images were not a comprehensive, inclusive history of Westport. Of course, they never were meant to be. And the tiles depicting Native Americans relied on photographic source material from exhibit curators at the Mashantucket Pequot Museum, before it even opened to the public.

The River of Names includes tiles for the original Westport Library, built in 1908 on the Post Road (now next to Starbucks).

Then, on the Library website, the text reference for Marion Grebow’s 3-dimensional ceramic donor tile mural initially became “the tile wall,” with no artist credit. Now it is “River of Names Interactive.” What does that mean? Where is the artist credit, or the history or meaning of this work’s creation?

According to Marion Grebow’s attorney, he “has been warned that unless her family agrees to pay for storage or immediately takes custody of the 26 foot ceramic wall, it will be destroyed no later than January 15, 2023.”

What would Marion Grebow think?

In 1997-98, former Second Selectman Betty Lou Cummings and I, as an RTM-appointed Westport Library trustee, were volunteer co-chairs of the River of Names Community Capital Campaign. We worked very closely with Marion Grebow on every detail of every one of the mural’s sculptural images and 1,927 donor spaces.

(From left): Betty Lou Cummings, Marion Grebow and Dorothy Curran.

In 2019, despite her concerns for the mural’s structural fragility, it was cut by experts into 6 pieces and removed to storage, as the library renovation commenced.

Meanwhile, Marion was battling terminal cancer. Knowing that her end was approaching, she planned her own graveside service. In February 2020, a few weeks before the COVID lockdown, Betty Lou Cummings and I stood on the peaceful frozen hillside of Umpawaug Cemetery in Redding as a lone soloist rose to sing one song in the frigid air. Apparently it was Marion’s favorite: “Moon River.”

=======================================================

In November 2021, the Westport Arts Advisory Committee Diversity Task Force presented this report to the Library:

River of Names is a tile wall created in 1996 in the context of fundraising for the Westport Library. While the piece aims to tell the chronology of our town, factual historical events and the diverse populations of Westport that played a significant role in the story of our town were omitted. We highlight these omissions because the commission claims to have weaved our town history into the piece, yet it is incomplete.

Also of concern is that at least one tile depicts the face of a white patron inappropriately overlaid in scenes of indigenous people. The importance of historical storytelling grounded in fact is vital to our growing efforts to come together as a society and embrace diversity and inclusion. As River of Names is not an accurate depiction of Westport’s history, it is inappropriate to be displayed in 2021 Westport.

Yet this tile wall provides a learning opportunity. We believe the digital file should remain on the Westport Library website as a tool to understand the importance of diversity and inclusion initiatives and how the perception of history over the past 25 years has evolved.

We suggest that the River of Names web display include an addendum, written by a town historian, to add historical omissions and to explain the context of the time in which the wall was created. This would be a responsible and thoughtful approach to embracing this well-intentioned, yet anachronistic work.

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“River Of Names”: The Sequel

Posted on August 21, 2017 | 2 comments

Dorothy Curran — a co-organizer of the “River of Names” fundraiser that helped bring a 26-foot long, 6-foot high mural to the lower level of the Westport Library — has been following the artwork’s future during the library’s transformation project with interest. She reports:

I spoke directly to Kurt Derner, who installed the mural (we worked together on installation logistics). He is being hired to de-install it as well.

No one is more aware than he of the many risks and loose ends attendant to the project. Happily, he is a very intelligent guy and we had a good talk.

Among other things, he plans to cut down the wall in panels which will keep entire sections intact. However, as he cuts, the margins of the affected tiles are very much at risk. Also, his work ends with the wrapping and labeling of each section. He and Marion Grebow (the tile artist) are very concerned about what plans the library has for then safely packaging, transferring and storing the work.

For the record, the only conversations that those of us who were involved in the logistics of mural installation have had with the library pertain to the wisdom (or lack thereof) of taking the mural down and its planned destination 2 years hence. We were not invited to participate in discussion of the removal, transfer, storage and re-installation logistics.

The River of Names, in the lower level of the Westport Library.

However, happily, thanks to Marion, Kurt and I now are in touch and I will try and provide some quiet coding and logistical help for him. To start, in the River of Names book, on the pullout page the coding system that we used to guide tile placement is on display.

Remarkably, though the print is fine, every name and every word on the mural pullout is legible. The tiles that Kurt believes are most at risk are the bookshelf tiles. Anything that is broken will have to be re-made, but there is no plan or budget in place for that and no agreement with Marion.

Kurt also has told the library that the panels must be stored vertically. As far as we know, they will be placed in what now is the McManus Room: exactly the same floor where the jackhammering will be going on that supposedly necessitates removal of the mural from its existing location for its “safety.” He has no idea how they plan to create or box the panels for storage. Therefore, there may be a change in condition between the time that he removes the panels and the time that they are ready for reinstallation.

The only hopeful news is that, while Kurt indeed is coming to the library on Wednesday, it is “only” for a meeting. No date has yet been finalized for the beginning of his takedown. He is anticipating September.

The library says that the mural will be removed safely, stored carefully, and reinstalled appropriately.

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Advocates Fear Tide Going Out On “River Of Names”

Posted on August 20, 2017 | 13 comments

For 20 years, the River of Names has stood as one of the Westport Library‘most unique, quirky and popular attractions.

Stretching 26 feet long and standing 6 feet high, the mural contains 1,162 tiles. Each was individually created and drawn by artist Marion Grebow. Some portray historical events, like the founding of Westport, onion farming and the arrival of the railroad.

Others feature favorite places around town: the Compo Beach cannons, Minute Man monument and Staples High School. Some cite local organizations and businesses.

Most show the names of nearly 1,000 families. They honor parents, children and pets. They note when the families came to town, and where they lived.

One of the tiles shows Stevan Dohanos’ Saturday Evening Post cover of the World War II memorial outside the old Town Hall. It’s surrounded by tiles honoring familes and civic organizations. (Photo courtesy of fotki.com)

The River of Names was a special fundraiser. Under the direction of former 2nd selectman Betty Lou Cummings and Westport Historical Society/Westport Woman’s Club leader Dorothy Curran, sales of the tiles brought in $300,000 for the library’s capital campaign.

Donors were promised that the mural would exist in perpetuity.

The River of Names draws visitors — some curious, some wanting to find their own tile, all intrigued — to the lower “Riverwalk” level of the library.

Grebow designed her mural to be looked at like the river itself. Taken together, the individual tiles appear to shimmer and move — imitating the Saugatuck River a few yards away.

The River of Names.

But the library has embarked on an exciting 18-month “transformation” project. The downstairs level will be where most books are stored; a new entrance there will open up the river, improving the entire library experience for all.

On Wednesday, the mural will be taken down. A group of Westporters — including Curran, Cummings and arts advocates — fears for what happens next.

They worry that the library has no written plan for removing the mural from the wall. They don’t know where it will be stored, and how the tiles will be labeled so they can be replaced in the precise spots Grebow selected. And they haven’t gotten definite word on where it will be exhibited once the transformation is complete.

I asked library director Bill Harmer about those concerns. He replied: “Yes, it’s safe. It will be safely taken down and safely stored. It will be available for re-hanging when the library renovation project is completed.”

Town arts curator Kathie Motes Bennewitz adds:

The Library has held discussions with Marion  Grebow, individuals involved in the 1998 fundraising project, the original installer, and (as early as 2014) with 3rd-party fine art service firms on how best to de-install, pack, transport and store the wall.

The priority has always been to protect the wall during construction. I am confident it will be professionally handled and stored until it can come back to the library.

Meanwhile, mural advocates produced a video about the River of Names.

At the end, Curran says: “Every day the tide goes in, and the tide goes out. But the river remains.

“I hope that the names will, too.”

(For more information, email save.our.river.of.names@gmail.com)

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