Philip Dalton, PhD, discusses the creation and reception of “American Nocturne” in Elgin, Illinois. // Photo courtesy of Moriah Sukhlal.

The Center for “Race,” Culture and Social Justice began its first colloquia event of the Fall 2022 semester with a presentation by Philip Dalton, associate professor of rhetoric and public advocacy, on Wednesday, Sept. 14. Dalton discussed his recent essay publication titled “Condemning Racial Terror Appropriately? A Critique of an Anti-Racist Mural in Elgin, Illinois.”

In 2004, artist David Powers was commissioned by The Outside Exhibition Group (OEG), the Cultural Arts Commission and the city of Elgin, Illinois, to work with local art students and create a mural for the town. Powers presented the mural, “American Nocturne,” to the city in 2007. The purpose of the mural was to denounce racism, according to Dalton.

On May 17, 2016, an Elgin citizen, Richard Farr, realized that the crowd in the mural was similar to the lynch mob from a photograph of the Aug. 1930 lynchings of J. Thomas Shipp and Abram Smith in Marion, Indiana. Farr posted his realization on a community Facebook page, which sparked controversy among Elgin residents.

“[Powers] attempted to shame white people at large for race terror, a rhetorical endeavor that exceeds the potential for blame epideictic, to amplify community values,” Dalton said.

Dalton explained that this is an example of race terror, defined as actions that are intended to scare or discipline communities into accepting a defined and limited role within society.

Where Powers’ mural was located also raised concerns, as it was displayed in a predominantly African American community. Dalton believes Powers should have considered the artwork’s “racial potential” before creating it.

“When you have a piece of art that’s in public, you’re going to get many people from many different perspectives looking at it, so you can’t control what the artist’s intention is,” said Carrie Albert, director of the Hofstra University Museum of Art. “Each person that’s looking at a piece of art is bringing their own background and experience into what they’re seeing.”

When news of the mural’s connection to a lynching image was released, Powers did not issue a statement. Critics of the mural have expressed to Dalton that they do not believe that the mural represented their experience in Elgin. Afterward, citizens began questioning Powers’ original intent and wondered why the origins of the mural were not disclosed.

Hofstra faculty members who attended Dalton’s talk contrasted Powers’ mural with other successful murals aimed at shaming the audience.

“The Memorial for Peace and Justice invites you in and kind of coaxes you to a really difficult and horrific conclusion, and yet you’re more willing to go there,” said Mary Anne Trasciatti, professor of rhetoric and public advocacy and director of labor studies. “In theory, I suppose we should be able to shame people because they did shitty things; but in practice, it doesn’t work because they resist.”

Other professors felt that Powers should have provided a message in order for the public to interpret the mural better.

“I’m kind of disappointed in how the artist presented his work,” said Daniel Cole, associate professor in the department of writing studies and composition. “I kind of understand what my colleague [Trasciatti] said of wanting to lull someone in, but at the same time, there ought to be some sort of place for just sort of shaking people up and saying, ‘Hey, look, this was awful; look at how the people were behaving’ and to get a real sense of it too. Both things are concerns.”

In 2021, Powers’ mural was taken down and replaced. The new mural was inspired by images painted on boarded-up storefronts when the community protested George Floyd’s death.

“This topic is important because it is evident [that] we are in a moment where people are evaluating public monuments and things like murals and statues as they pertain to race, ethnicity and diversity,” Dalton said.