Lake Dick Project

The Lake Dick Cooperative was an experimental New Deal project to help establish struggling families – white families, it should be noted – on farms of their own around Lake Dick, an oxbow just across the Arkansas River from Pine Bluff. Families from 29 Arkansas counties were selected. The project, according to the Encyclopedia of Arkansas, had "the twin goals of establishing a cooperative community of farmers, and assisting sharecroppers and tenant farmers to become independent landowners." It would function as a cooperative until near the end of World War II. 

The Resettlement Administration, which had initiated the project in 1936, soon became part of the Farm Security Administration, and in the fall of 1938, the FSA sent photographers Russell Lee and Dorothea Lange to photograph the settlement, including the newly built houses that lined the lake. (There are more than a hundred photos from Lake Dick by Russell Lee and Dorothea Lange – everything from domestic life to cotton cultivation – at the FSA catalog on the LOC website.)

According to a National Register of Historic Places nomination form filed in 1975:

"[The Lake Dick Resettlement Project] consisted of 80 houses of four to six rooms each, six community buildings, three mule barns ... The houses and community buildings were of simple one-storey frame construction with very plain lines and no decorative features. ...

"Most of the community buildings have been removed; however, the school-gymnasium still remains. It is used for storage, as a repair shop, and also houses farm offices ... Of the three large mule barns, only the south barn remains. ...

"About three-fourths of the original houses have been moved away from Lake Dick. The remaining houses, about 30, are those closest to the community center complex. These have recently been covered with white aluminum siding and reroofed with red shingles."

Later, the historian preparing the form slips momentarily from facts and documentation into commentary: "The land which once served a socialistic farming cooperative is now owned and operated by a single farming concern. Employees of the large landowner now occupy the houses built for members of a profit-sharing farming enterprise."

And while there may have been about 30 houses remaining in 1975, when we visiting earlier this week, only four of the houses could be found, and one old mule barn south of the lake.

In an interesting side note, the Lake Dick area seems to have been the birthplace of blues great Big Bill Broonzy, according to an oral history interview with music writer and researcher Bob Reisman. Reisman recounts speaking on the phone to Broonzy's mother "and, in fact, was able from that point forward to determine that Big Bill Broonzy in fact had been born not in 1893, but in 1903 and not in Scott, Mississippi but in Jefferson County, Arkansas about 65 miles southwest-- sorry, southeast of Little Rock near Lake Dick."

Carla Edwards

"I certainly don’t want to take ownership over anyone’s history nor do I think that quilt making or folk art needs my elevation. ... Quilters are very precise in their geometry, technique and symmetry and I am in awe of that skill. But I’m not invested in perfect lines and construction with this work... . I think if a legit quilter took a look at my handy work they would be horrified."

from in interview at Arte Fuse

Carla-Edwards-Bonfire.jpg

The Believer Interview with Pope.L

BLVR: You’re selling bottles of contaminated water from Flint, Michigan, as a fund-raiser. Besides raising money, what is your interest in distributing bottles of contaminated water?

PL: ... My interest in selling contaminated drinking water goes beyond Dadaist hoo-ha. Beyond the gesture. Or maybe Flint is ultimate Dada. ... Art-wise, the aesthetics in this work are in the immaterial: vulnerability, community, and a sense of connectedness. ...

BLVR: Do you see any problem with equating art and social activism? Have you found that the activist impulse competes with the art impulse?

PL: Art. Activism. Activism. Art. They aren’t the same, but maybe they should be. I mean, should art improve the quality of people’s lives in a meaningful way? Fuck yeah. Should activism blow our eyes, ears, and minds? Fuckity fuck yeah. So there’s no problem.

from The Believer

Highlights from the Yale Art Gallery

A Twombly next to a Keifer, in the same room with two Rauschenbergs, two Nevelsons, and a Basquiat. I was in in New Haven last week to visit a friend, and we spent a morning in the galleries at Yale.

Untitled, by Cy Twombly

Untitled, by Cy Twombly

Interior 2, by Robert Rauschenberg

Interior 2, by Robert Rauschenberg

Jack Johnson, by Raymond Saunders

Jack Johnson, by Raymond Saunders

Gift, by Lynda Benglis

Gift, by Lynda Benglis

Shield from Borneo

Shield from Borneo

from Dawn's Wedding Feast, by Louise Nevelson

from Dawn's Wedding Feast, by Louise Nevelson

Ngbe Leopard Society Lodge Emblem, Nigeria

Ngbe Leopard Society Lodge Emblem, Nigeria

Plate, by Peter Voulkos

Plate, by Peter Voulkos

Diagram of the Ankle, by Jean-Michel Basquiat

Diagram of the Ankle, by Jean-Michel Basquiat