Mixed Race Studies

Was first black priest black enough?

Chicago Tribune
2010-05-02

Manya A. Brachear, Tribune reporter

Healy, son of a plantation owner, isn’t mentioned as often as Tolton, who is being pushed for sainthood

More than a year after some African-Americans scrutinized the blackness of the nation’s first black president, America’s Catholics are now wrestling with the same questions to determine who was the nation’s first black priest.

The debate emerges as the Archdiocese of Chicago seeks sainthood for the Rev. Augustus Tolton, long hailed in Chicago as the first African-American clergyman to serve in the U.S. Catholic Church.

A rival for the title is Bishop James Augustine Healy, who was ordained in 1854, the year Tolton was born. But Healy, the son of an Irish-American landowner and a mixed-race slave, was light-skinned enough to pass as a white man. And in many cases, he did…

…As bishop of Portland, Maine, Healy served another marginalized population: Native Americans.

The eldest of 10 siblings, Healy was raised Catholic but attended a Quaker school in New York. In 1849, he graduated valedictorian of the first class at the College of the Holy Cross in Worcester, Mass.

He attended seminary in Canada and was eventually ordained in Paris. But he distanced himself from an African-American identity. He declined to participate in African-American organizations and turned down invitations to address the National Black Catholic Congress, citing the New Testament — “Christ is all and in all” — as his reason.

James O’Toole, author of “Passing for White: Race, Religion and the Healy Family [, 1820-1920],” said that denial comes across to some as betrayal. To others, it gives a new dimension to the struggle. But he believes contemporary categories or agendas shouldn’t be imposed upon historical figures.

“In a sense, that can look like racial treason. Why are you denying who you are?” said O’Toole. “Those are very much the standards of today. But they’re not their standards. As a historian, that’s what ought to govern here. … We should be assessing them on their own terms.”

But Michelle Wright, associate professor of African-American studies at Northwestern University and author of “Becoming Black [: Creating Identity in the African Diaspora],” cautions that ceding to Healy’s self-identity could further the misconception that African-Americans did not contribute to society…

Read the entire article here.

Rubén Trejo: Beyond Boundaries / Aztlán y más allá

University of Washington Press
Published with Northwest Museum of Arts and Culture
April 2010
160 pages
110 color illus., notes, bibliog., 9 x 10 in
Paperback ISBN: 9780295990040

Edited and Introduced by:

Ben Mitchell, Senior Curator of Art
Northwest Museum of Arts and Culture, Spokane, Washington

Essays By:

Tomás Ybarra-Frausto, Former Professor of Spanish and Portuguese
Stanford University
Former Associate Director for Creativity and Culture
Rockefeller Foundation

John Keeble, Professor Emeritus
Eastern Washington University

“Multiple backgrounds can form such two- and three-dimensional ideas that they take you to the brink of lunacy, but I have used this rich background and ethnic landscape for creating art. As a student at the University of Minnesota, I often wondered what the study of Russian history, Shakespeare, English literature, or Freud . . . had to do with cleaning onions in Hollandale, Minnesota, picking potatoes in Hoople, North Dakota, or visiting relatives in Michoacán. This diversity of ideas can produce a three-headed monster or an artist, and I chose the latter.” –Rubén Trejo

Rubén Trejo: Beyond Boundaries / Aztlán y más allá is the first comprehensive survey of Trejo’s art and career. It focuses on more than fifty works from 1964 through the present, including pieces from his delightful life-size, puppet-like Clothes for Day of the Dead series; works from the Calzones series – cast bronze underwear and jalapenos – that challenge the Spanish machismo culture; seminal examples of his lifelong exploration of the cruciform image; and much more. The volume includes biographical and interpretive essays, as well as a chronology, list of exhibitions, and bibliography.

Rubén Trejo (1937-2009) was born in a Chicago, Burlington and Quincy railroad yard in St. Paul, Minnesota, where his father, a mixed Tarascan Indian and Hispanic from Michoacán, Mexico, and his mother, from Ixtlan in the same Mexican province, had found a home for the family in a boxcar while his father worked for the railroad. Trejo became the first in his family to graduate from college, and in 1973 he moved to the Pacific Northwest, where he began a thirty-year association with Eastern Washington University as teacher and artist.

His isolation from major centers of Chicano culture led him to search for self-identity through his art. Influenced and inspired by such writers and artists as Octavio Paz and Guillermo Gómez-Peña, he explored a dynamic, multidimensional worldview through his sculpture and mixed-media pieces and created a body of work that deftly limns his identity as an artist and a Chicano. Throughout his long teaching career, he worked tirelessly to create opportunities for young Chicanos through tutoring and mentoring.

Table of Contents

• Preface by Ben Mitchell
• In a Garden of Ideas / Ben Mitchell
• Beyond Boundaries, Aztlán y más allá / Tomás Ybarra-Fraust
• Plates
• Trejo’s Perfect Havoc / John Keeble
• Chronology for Rubén Miguel Trejo
• Selected Exhibitions
• Selected Bibliography
• Patrons
• About the Authors