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BmoreArt News: Annie Howe, VILLAGER, Maryland State Archives

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This week’s news includes: a profile of artist Annie Howe, VILLAGER’s BOPA exhibition reviewed, celebrating Archives Month with Maryland State Archives, MSAC receives national DEI award, BOPA news, the Lewis Museum’s new Frederick Douglass mural, Fells Point Corner Theatre’s latest production, new Ernest Shaw mural unveiled, artist announced for 2024 Risoprint Fair, TU filmmaker Edmund Savage, Little Beasts exhibition at National Gallery of Art, and questions remain about Columbus statue – with reporting from Baltimore Magazine, Baltimore Fishbowl, Baltimore Brew, and other local and independent news sources.

Header Image: Annie Howe with handwoven rug made with Tamarian Carpets

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Annie Howe with one of her papercuts in her Lauraville studio. —Photography by Christopher Myers

Inside Annie Howe Papercuts’ Lauraville Studio
by Janelle Erlichman Diamond | Photography by Christopher Myers
Published October 28 in Baltimore Magazine

Excerpt: Annie Howe sits at her table, X-Acto knife in hand, working meticulously as little shards of discarded paper scatter around her like confetti. Her cuts are quick, controlled, and accurate—it’s like watching a skilled surgeon—and within a few seconds she’s created a beautiful border around a quickly sketched tree as she demonstrates her papercut technique.

A gallon Mason jar full of razor blades sits on her desk a few inches away from where she works in her sun-filled studio in Lauraville.

“I wanted to do one of those things where you’re like, ‘Guess how many jelly beans are in the jar,’” she says with a laugh in her distinctive voice—a mix of her Rhode Island upbringing and her 27 years in Baltimore. Today, she’s wearing a cat apron, the bow neatly tied at her waist, her arms freckled exactly like you would expect from a strawberry blonde like her. She nods to the jar. “I mean, this is probably years and years, but it’s like that because the blades are so small.”

 

 

“Ase: Embodying the Divine,” a show from visual artist VILLAGER, is on view at the Bromo Seltzer Art Tower's Mezzanine Gallery. (Courtesy of VILLAGER)

The artist VILLAGER creates rituals of remembrance with ‘AfroAbstracture’ in BOPA exhibit
by Angela N. Carroll
Published October 26 in The Baltimore Banner

What power do our collective and individual choices have on the destruction or elevation of our humble human experience?

The latest solo exhibition from the visual artist VILLAGER (born AbdulRasheed Adekunle Esuwapelumi Adaranijo in Nigeria), contemplates this existential question and others through a vibrant series of divinely informed portrait paintings.

On view Oct. 10 through Dec. 17 at the Bromo Mezzanine Gallery, “Ase: Embodying the Divine” combines both abstract and figurative painting techniques to conjure a style of portraiture the artist calls AfroAbstracture. VILLAGER considers portraiture more than a replication of someone’s likeness; it can be a mirror for their innate divinity, and devoting their practice to this process is, in turn, a reflection of their own chosen path.

“We are all mirrors of one another,” VILLAGER shared during a recent studio visit. “Ultimately, the folks I paint are those who mirror something within me and propel me towards radical healing. Painting them is my way of giving back, honoring their story and immortalizing them so the world can also sing their good gospels. I’m at all times giving reverence to this collective consciousness.”

In the Yoruba cosmology, Ase is a subtle primordial life force, a divine essence that catalyzes and sustains all existence. Using acrylics on canvas, VILLAGER attempts to channel this energy into dynamic portraits, invoking concepts such as Iwa, character and essential nature, and translates the techniques of traditional Yoruba weavers and woodworkers. Rather than paint their subjects with skin, they utilize a gestural mark-making akin to scarification. They apply varying strokes of color to create a tapestry that imagines the way auric energy emits and travels through networked channels in our bodies. Each of VILLAGER’s portraits engages this technique, and by doing so, enlivens the portrayals of their subjects with a distinct approach to figuration.

VILLAGER’s portraits also reference the austere and proud postures of Ile Ife bronzes and serially honor Esu, the Orisa of crossroads, the enforcer of all divine laws and balance, by replacing the sitter’s eyes and mouth with cowrie shells. The cowries placed on the eyes are called oju, inu.

“In Yoruba and the African diaspora, cowries are revered as a vessel/object significant as adornment through jewelry, currency, trade networks, rituals, ceremonies, and ancestral veneration practices,” VILLAGER continued. “Cowries in my work become the technology of energetic connection to the divine life force and all that is hidden, unseen, around it. They are a symbol of connection with my ancestors, a vessel of knowledge, a seed carrying ancestral wisdom from the past to the present. This vessel becomes a portal of gaze to transport me to a space where time is endless, and energy is the fuel for inevitable change.”

Organized by BOPA senior curator Kirk Shannon-Butts, the exhibit marks the third iteration of the “Emerge Baltimore” series, which provides platforms to showcase new works by Baltimore-based emerging artists.

“We no longer have to wait for the artist to pass in order to discover their work, their story and learn all about why they felt compelled to share their journey with the public,” says Shannon-Butts. “It is important to exhibit VILLAGER at this time because they are the demiurgic manifestation of now.”

A self-taught artist, VILLAGER emigrated from Lagos, Nigeria, to Maryland in 2013 with their siblings to live with their mother. After studying environmental chemistry at Towson University and nearly completing their M.S. in marine estuary environmental sciences at UMBC, they became gravely ill. They said they miraculously healed after making peace with their desire to be a professional artist. Since then, VILLAGER has practiced a daily meditation of mindful self-acceptance and uses their art to help others accept their beauty by accepting themselves as they are. The artist describes this process and the portraits they prolifically paint as rituals of remembrance.

Two years ago, they debuted early experiments with similar themes and techniques in thier first solo exhibition, “BUSH BOY!” at the Chesapeake Arts Center. Those paintings acknowledged ancestral presence and traditional knowledge in more literal ways: depictions of artifacts, masks and cowrie shells. With “Ase: Embodying the Divine,” VILLAGER digs deeper into the conceptual ideation of ancestral traditions by mindfully documenting the subtle sacredness of our material and immaterial world. VILLAGER has honed a definitive and memorable style by studying the scholarship of Malidoma Some, Dr. Marimba, Ben Okri, Robert Farris Thompson and the powerful artistry of visual artists Amako Boafo, Amy Sherald, El Anatsui, Simone Leigh and Masimba Hwat.

VILLAGER has the kind of personality that people are drawn to, a warmth reflected in the portraits they paint, each a likeness that allows us all to see ourselves as we are — vibrant light beings, innately joyful and divine. By emphasizing the vibrancy of what they believe reflects their sitter’s true nature and distinct energetic signature in the world, VILLAGER hopes their paintings remind us about the power of our interconnected reality; we can heal ourselves and each other by honoring our humanity.

“Ase: Embodying the Divine” is on view through Dec. 17 in the Mezzanine Gallery at the Bromo Seltzer Arts Tower in Baltimore.

This story was republished with permission from The Baltimore Banner. Visit www.thebaltimorebanner.com for more.

 

 

Maryland State Archives Scan Technician Tyrone Jones (left) assists R.W. Lewis Williams Jr., chairman of the Grand Lodge Archives/Library for The Most Worshipful Prince Hall Grand Lodge, as he scans vital documents for the organization. (Photo by Marlon Selmon)

Celebrating American Archives Month: Corey Lewis and the Maryland State Archives’ commitment to preserving history
by Deyane Moses
Published October 28 in The AFRO

Excerpt: October marks American Archives Month, a time to recognize the vital role that archives play in preserving historical documents and records. This year, the AFRO highlights the work of Corey Lewis, one of two assistant state archivists for the Maryland State Archives (MSA). MSA has been a steadfast partner to Afro Charities, the sister company to AFRO News, providing crucial support in preserving the rich history of Black communities in Maryland.

Lewis brings vast experience and dedication to his role at MSA. His responsibilities are wide-ranging, but his focus on preserving and making history accessible remains his top priority.

“As one of two assistant state archivists, I oversee key operations such as appraisal, digitization, constituent services, and interagency coordination,” Lewis told the Afro Charities team.

 

 

Four generations of the Pocomoke Indian Nation gather at Shad Landing State Park Discovery Center in Snow Hill, Maryland. Photo courtesy of the Maryland State Arts Council

MSAC Receives National Leadership Award for Diversity, Equity, and Inclusion Efforts
Press Release :: October 25

MSAC has been named the recipient of the 2024 Diversity, Equity, and Inclusion (DEI) Agency Award from the National Assembly of State Arts Agencies (NASAA), a professional association supporting state arts councils and regional arts organizations nationwide. The award was given in recognition of the Land Acknowledgement Project, a collection of resources centering the experiences of Indigenous people in the place now known as Maryland.

Since its release in 2022, the Land Acknowledgement Project has worked to increase Indigenous visibility, build networks that promote Indigenous sovereignty, and begin to facilitate the development of ethical relationships between settler institutions and tribal peoples.

NASAA’s DEI Agency Award recognizes a state arts agency or regional arts organization that has demonstrated innovative and exceptional efforts to be diverse, equitable, and inclusive in its work. The award is part of NASAA’s larger Leadership Awards program, which recognizes exemplary leadership and showcases the best practices of state arts agencies and regional arts organizations.

For details on the Land Acknowledgement Project, visit https://msac.org/resources/land-acknowledgements.

View the original release by clicking here.

 

 

The city has signaled that it will work to take over the programming and planning of future events, such as Artscape, shown here in 2023, from the Baltimore Office of Promotion & the Arts (Kaitlin Newman/The Baltimore Banner)

BOPA leaders seek to reassure arts community after break with city
by Abby Zimmardi
Published October 30 in The Baltimore Banner

Excerpt: Leaders of the Baltimore Office of Promotion & the Arts on Tuesday sought to reassure the arts community that its work will continue, despite the city’s plans to sever ties with the nonprofit.

More than 100 people logged on to an online town hall event to ask questions and hear about BOPA’s next steps in light of the city’s move to break with the financially struggling group. CEO Rachel Graham reiterated that BOPA is an arts council and an arts advocacy organization and will continue to serve that role.

“This is a life-or-death matter,” Graham said. “While we’re having these conversations, artists across this city are suffering. They’re suffering from homelessness. They are suffering from inadequate health care. They are some of the prime sufferers in the opioid addiction crisis. I believe that BOPA has a role that it can play.”

 

 

A rendering of Frederick Douglass titled “Frederick Douglass / Liberty” outside the Reginald F. Lewis Museum of Maryland African American History and Culture in Baltimore. (Ariel Zambelich/The Baltimore Banner)

Provocative Frederick Douglass mural gets new life in Baltimore
by Taji Burris
Published October 29 in The Baltimore Banner

Excerpt: “A part of the importance of history is how it plays forward.”

Terri Lee Freeman, president of the Reginald F. Lewis Museum of Maryland African American History and Culture, knows their newest artwork featuring a historical icon is as much about the past as it is the future.

If you’ve walked or driven down President Street lately, there’s a good chance you’ve made eye contact with the piece: a linocut image of Frederick Douglass in a crouched, casual position wearing an all-black suit, tie and Converse with a large watch on his wrist, with the word “liberty” dripping in paint behind him.

… this story continues. Read the rest at The Baltimore Banner: Provocative Frederick Douglass mural gets new life in Baltimore

 

 

Fells Point Corner Theatre Announces On the Verge; or, the Geography of Yearning By Eric Overmyer
Press Release :: October 25

Fells Point Corner Theatre (FPCT) is proud to announce the second production of its 2024/25 season, On the Verge, directed by Kimberley Lynne.

Heed the call to discovery! Journey through uncharted territories! With wit and nerve, three intrepid, female, Victorians navigate their way through the various locales of Terra Incognita, the last undiscovered land on the globe. Their friendship and courage will be tested as they explore and contemplate a woman’s place in the world. They word play, problem solve and collect artifacts as they travel through time. But their main goal is to prove their worth. “The civilizing mission of women is to reduce the amount of masculinity in the world.”

Playwright Eric Overmyer won both the Writers Guild award and the Edgar Award for his work on The Wire. He also served as writer or producer for Homicide: Life on the Street, St. Elsewhere, Law & Order, New Amsterdam, Bosch, and Treme. In addition to his Baltimore television storytelling connections, On the Verge; or, the Geography of Yearning premiered at Center Stage in 1986, directed by Jackson Phippin who served as its Associate Artistic Director.

Fells Point Corner Theatre Artistic Director Kimberley Lynne saw that Center Stage production. She was entranced by the play’s language and always wanted to explore its magical text that centers adventuring and independent women. Lynne is a playwright, with over forty of her plays having  been produced. She also produced and directed Spotlight UB at the University of Baltimore for ten years. She last directed Dead Man’s Cell Phone at FPCT in 2023.

The amazing cast includes: Penelope Chan (Dead Man’s Cell Phone), Barbara Madison Hauck (The Thanksgiving Play), Niki Jay (Machinal), Morgan Stanton (Dead Man’s Cell Phone), and Shelby Sullivan (Stick Fly). Designed to perfection by: Adrienne Cassara (lighting design), Penelope Chan (props, hair, and makeup), Anna McGreevey (costume design), Tim Marrone (movement), Justin Nepoemuceno (scenic design), Benni Rose (props), Michael Salconi (choreography), Heiko Speaker (sound design), and Kay-Megan Washington (intimacy direction).

For 37 seasons, FPCT has brought diverse and community-centered theater to Baltimore through a combination of acclaimed contemporary plays, local Baltimore premieres and time-tested favorites.

Art reflects society, and we at FPCT stand for social justice. Our season continues explorations of racism, homophobia, and sexism. Between current rocky American politics, the unpredictable Supreme Court, campus political protests, continued police brutality, and the possible end of democracy, our responsibility to community is to mirror in story these problems, and, therefore, try to process them through narrative.

In addition to these creative offerings, FPCT’s Educational Programs are continuing to offer acting and introduction to theatre and clowning classes for young people as well as playwriting classes for adults. These programs will be announced throughout the season as registration starts.

All are welcome in this inclusive, creative, artistic space that serves as a neighborhood anchor in Upper Fells Point and in the Greater Baltimore cultural community. FPCT believes in making our resources available to the theatre and artistic communities of Baltimore. To that end we continually open our building up for artistic and community rentals. For more information on our rental rates and policies, visit www.fpct.org/rentals.

For tickets and additional information about these performances, please visit www.fpct.org or call (410) 878-0228.  Flex passes and group discounts are available.

Fells Point Corner Theatre is housed in an 1850 firehouse located at 251 S. Ann Street in Upper Fells Point, the result of a merger between two community theaters in the greater Fells Point area: the Fells Point Theatre, and the Corner Theatre in 1987. Fells Point Corner Theatre is a fully nonprofit 501(c)(3) organization operating under the corporate name Bristol Players for the past 37 years.

 

 

Commissioned mural by West Baltimore artist, Ernest Shaw
Press Release :: October 24

A mural by West Baltimore artist Ernest Shaw in the new Workforce Development Center CareFirst opened last week in Mondawmin Village.

Commissioned as a source of pride and inspiration to the staff, students, and community members who will fill the revitalized space, Shaw refers to his work as a call to action that invites viewers to reflect on their role within the community and embrace the principles of unity, sharing, and love.

Ernest has also described his work as a visual story of the values that bind us together in humanity. At its heart are three Adinkra symbols, each chosen to represent the essence of our collective spirit.

Nkonsonkonson is a chain which represents patience and prudence, virtues that are especially vital in the face of challenges. It speaks to the importance of thoughtful action and the nurturing of relationships over time, emphasizing how love and care are integral to our shared journey.

Funtumfunefu Denkyemfunefu represents two mythical crocodiles, “unity in diversity”, reflecting the rich tapestry of backgrounds and experiences that contribute to our community. It reminds us that while we may come from different walks of life, our strength lies in our ability to embrace and celebrate our differences.

Duafe symbolizes a wooden comb which signifies sharing, a core value essential to fostering connection and support within our neighborhoods. In a world that often emphasizes individualism, this symbol encourages us to cultivate generosity and compassion, reminding us that by uplifting one another, we create a stronger foundation for all.

The symbols are folded into portraits of black families. Each face tells a story of resilience, hope, and the love that sustains us. They embody the values represented by the Adinkra symbols, showcasing the strength of community and the profound impact of care and connection.

 

 

Philadelphia Flowers risoprint by inner loop press.

East City Art Announces Exhibitors of the Inaugural 2024 DC Risoprint Fair
by East City Art Editorial Team
Published October 29 in East City Art

Excerpt: The inaugural DC Risoprint Fair arrives this fall, cementing its place as a must-attend event in DC’s arts calendar. Presented by East City Art, the region’s go-to source for visual art news, the fair will take place at Eastern Market’s North Hall on Saturday, November 23 and Sunday, November 24. The print fair celebrates the vibrant world of Risography, a quirky printing technique that blends the convenience of digital duplication with the wonderfully unexpected results that come from screen printing.

More than two dozen artists, graphic designers, presses and printers from DC, Baltimore, Brooklyn, Richmond, and Philadelphia will display hundreds of original prints, books, and cards—offering an accessible entry point for new collectors, with many works priced affordably. Attendees will explore the charm of RISO prints, known for their vibrant colors, subtle misregistrations, and textured, retro aesthetic, qualities that make every piece truly one of a kind.

 

 

Creating inclusive spaces, amplifying LGBTQ+ narratives
by Allyyah Aali
Published October 23 in TU Newsroom

Excerpt: Edmund Savage ’20 has spent years creating spaces where LGBTQ+ students can be included and empowered. Their work within the College of Fine Arts & Communication (COFAC) and throughout the local community reflects a deep commitment to uplifting marginalized voices.

Savage’s journey in advocacy began with a desire to center LGBTQ+ students in their academic and personal experiences. While leading In The Life (ITL), an organization for queer students of color, Savage connected with Isaiah Lawrence, a former ITL member and STAR TRACK representative to address the unique needs of LGBTQ+ students. STAR TRACK’s mission is to provide quality health care in Baltimore.

 

 

Image Credit: Jan van Kessel the Elder, Insects and a Sprig of Rosemary, 1653, oil on copper, The Richard C. Von Hess Foundation, Nell and Robert Weidenhammer Fund, Barry D. Friedman, and Friends of Dutch Art, 2018.41.1

Art’s Influence on Natural History Explored in Historic Exhibition
Press Release :: October 28

The National Gallery of Art announces Little Beasts: Art, Wonder, and the Natural World, an exhibition exploring the rich exchange between artists and naturalists at the dawn of European natural history. Thanks to an unprecedented collaboration with the Smithsonian National Museum of Natural History (NMNH), the National Gallery will display nearly 75 prints, drawings, and paintings alongside some 60 specimens from NMNH, marking the first time their collections of art and specimens are displayed together. A new film by contemporary artist Dario Robleto will further examine the intersection of art, science, and the natural world, bringing historic works and specimens into dialogue with contemporary culture. The exhibition will be on view from May 18 to November 2, 2025, in the National Gallery’s West Building.

Little Beasts will explore how European artists spread knowledge about creatures big and small during the 16th and 17th centuries. Scientific technology, trade, and colonial expansion led to the study of previously unknown or overlooked species. In major cities like Antwerp, artists such as Joris and Jacob Hoefnagel and Jan van Kessel created highly detailed drawings, prints, and paintings of these insects, animals, and other beestjes, or “little beasts” in Dutch. Their works inspired generations of artists and naturalists, fueling the burgeoning science of natural history. Rarely displayed art by more than a dozen others, including Albrecht Dürer, Teodoro Filippo di Liagno, and Wenceslaus Hollar, will also be on view alongside examples of the period’s illustrated zoological publications.

Within the exhibition, the National Gallery will introduce new methods for deepening audience engagement. Digital displays will allow visitors to zoom in on small works and learn more about their stories. Magnifying glasses, reminiscent of the lenses Renaissance artists and naturalists would have used, will be available to examine specimens and their artistic representations. Take-home nature journals will invite visitors to slow down and observe the natural world, both within the exhibition and beyond.

“Through their work, artists have always helped us make sense of the world,” said Kaywin Feldman, director of the National Gallery of Art. “Little Beasts gives us the chance to examine how the curiosity of artists helped to advance discovery in the study of the natural world. It is only fitting that we explore this rich exchange of ideas with our neighbors at the Smithsonian National Museum of Natural History. Delightfully detailed drawings, prints, and paintings invite art lovers of all ages to marvel at these artistic feats and to explore our wondrous word.”

“Art and science have been closely aligned throughout the 175-year history of the Smithsonian,” said Kirk Johnson, Sant Director of the Smithsonian National Museum of Natural History. “Even today, researchers at the National Museum of Natural History depend on scientific illustrators to bring clarity and understanding to the specimens they study. We are proud to collaborate with the National Gallery of Art to bring a new perspective to an era when artistic expression went hand in hand with scientific exploration.”

About the Exhibition

Drawing primarily from the National Gallery’s collection, with special loans from the Baltimore Museum of Art, the Library of Congress, and other institutions, the exhibition begins in 16th-century Europe, where artists like Joris Hoefnagel created detailed images of plants and animals. The centerpiece of this section is Hoefnagel’s Four Elements, one of the treasures of the National Gallery’s collection. This series of 270 watercolors bound into four books was originally in Emperor Rudolf II of Austria’s private collection and is almost never on view due to its sensitivity to light. Not only will all four books be on display, but their pages will also be turned three times during the course of the exhibition, allowing access to even more of these delicate works. Little Beasts will also reunite a watercolor of two turkeys, removed sometime in the late 1700s or early 1800s and currently in a private collection, with the original four-book set. Surrounding the Four Elements, related works of art and specimens of the animals depicted illustrate some of Hoefnagel’s more innovative techniques.

The second section of the exhibition explores how printmaking—namely engraving and etching—enabled artists and naturalists to share their studies of the animal world with a wider audience of art collectors. Examples from several landmark print series, including engravings made after Joris Hoefnagel’s designs, are paired with loans from NMNH, allowing visitors to compare these highly detailed artistic representations of animals with related natural history specimens. Among the featured animals are a Eurasian hoopoe, an elephant beetle, a musk beetle, a hummingbird hawk-moth, and a mantis shrimp. Specimens were chosen in close collaboration with collections managers and specialists from NMNH, who helped to identify species within the works of art.

The third section focuses on Jan van Kessel’s celebrated paintings and the prints, books, and animals that inspired him. Seashells, insects, a parrot, a peacock, a porcupine, and a macaque will appear with Van Kessel’s works, showcasing his tremendous skill at rendering creatures of all kinds and allowing visitors to compare the paintings and their subjects. NMNH scientists have identified every insect in his Insects and a Sprig of Rosemary (1653) and created a custom tableau with specimens from their collection to appear alongside Van Kessel’s painting. A digital interactive kiosk will recreate the art cabinets upon which Van Kessel’s postcard-sized works were usually displayed. While no cabinets with paintings by Van Kessel remain today, an intact suite of paintings from the Oak Spring Garden Library allows us to reimagine these decorative cabinet fronts, which probably showcased specimens contained within.

As a coda to the exhibition, a commissioned, 40-minute film by artist Dario Robleto explores the lineage of tenderness and empathy that connects art and science through time. The film includes site-specific filming, historical footage, animations, and an original score, linking the works of Hoefnagel and Van Kessel to the efforts of modern-day conservators and image scientists at the National Gallery, who are responsible for preserving these valuable works of art for future generations. A bespoke theatre will show the film on a loop in the final room of the exhibition.

Exhibition Tour
National Gallery of Art, Washington, May 18–November 2, 2025

Exhibition Curator
The exhibition is curated by Alexandra Libby, senior administrator for collections and initiatives; Brooks Rich, associate curator of old master and nineteenth-century prints; and Stacey Sell, associate curator of old master drawings, all of the National Gallery of Art.

 

 

Inner Harbor tourists look through a fence at the empty pedestal that supported the 1984 statue of Christopher Columbus. Photo by Ed Gunts.

What should replace Baltimore’s Christopher Columbus statue? Ideas abound and memories linger.
by Ed Gunts
Published October 28 in Baltimore Fishbowl

Excerpt: What should replace the Christopher Columbus statue that was dumped in Baltimore’s harbor more than four years ago?

A replica of the statue that was destroyed? A sculpture depicting a family of Italian immigrants? A likeness of former U. S. House of Representatives Speaker (and Baltimore native) Nancy Pelosi or her father, former Baltimore Mayor Thomas D’Alesandro Jr.? Mother Cabrini? An olive tree? Or maybe nothing at all.

Those were a few of the ideas suggested during a spirited discussion this month at a meeting of the Little Italy Neighborhood Association (LINA), a community group whose members live and work near the spot where the statue was dedicated in 1984 — with then-President Ronald Reagan in attendance.

 

 

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