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    Trump Casts Himself as a Protector of Persecuted White People

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    President Trump publicly dressed down the president of South Africa based on a fringe conspiracy theory, providing a vivid distillation of his views on race.In the Oval Office on Wednesday, President Trump positioned himself as the savior of white South Africans.Sitting alongside Cyril Ramaphosa, the president of South Africa, Mr. Trump said white people were “being executed.” He referred over and over again to “dead white people.” He dressed down Mr. Ramaphosa, who helped his country cast off the racist policies of apartheid, and questioned why he was not doing more when white people were being killed.“I don’t know how you explain that,” Mr. Trump said. “How do you explain that?”The American president was not much interested in the answer, which is that police statistics do not show that white people are more vulnerable to violent crime than other people in South Africa.The confrontation provided a vivid demonstration of Mr. Trump’s views on race, which have animated his political life going back years. After rising to power in part by framing himself as a protector of white America, Mr. Trump has used his platform, in this case the Oval Office, to elevate claims of white grievance.For Mr. Trump, white people are the true victims; Black people and minorities have received an unfair advantage in the United States. And when Mr. Trump looks to South Africa, a majority-Black country emerging from a legacy of apartheid and colonialism, he sees white people who need sanctuary in the United States.Invoking the teachings of his old mentor, Nelson Mandela, Mr. Ramaphosa pleaded for civility in the dialogue between the two leaders.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      The Future of Black History Lives on Donald Trump’s Front Lawn

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      I don’t know why I was surprised when President Trump went after the Smithsonian Institution, in particular the National Museum of African American History and Culture — or as it’s more informally known, the Black Smithsonian. If anything, I should have been surprised he held off for two months. On March 27, he issued “Restoring Truth and Sanity to American History,” an executive order that accused the Smithsonian Institution of having “come under the influence of a divisive, race-centered ideology.” He called out the Black Smithsonian in particular for being subject “to ideological indoctrination or divisive narratives that distort our shared history.” The federal government, he declared, will no longer support historical projects that “degrade shared American values” or “divide Americans based on race.”I think Mr. Trump’s presidency is a national tragedy. But a stopped clock is right twice a day, and I have some sympathy for the concerns he raised about the agenda of much historical thinking these days. Too often it indulges in sloppy and even childish stereotypes, depicting America’s past as one extended hit job.The boldness of the American experiment, the emergence of the Constitution, the evolution of public schooling, the expansion of the right to vote, the rise of the conservationism and the flourishing of our diverse cultural life — reducing all of this to the machinations of a sinister white cabal is, like the 1980s power ballad, seductive but vapid. That white lady at the supermarket with her 6-year-old daughter has organized her life around defending her privilege? I’m not seeing it.President Trump visited the National Museum of African American History in 2017.Doug Mills/The New York TimesI shudder at suggestions that — as a graphic on the Black Smithsonian’s own website put it a few years ago — “objective, rational, linear thinking,” “quantitative emphasis” and “decision-making” are the purview of white culture. I despise equally the idea that Black people are communal, oral, “I’ll get to that tomorrow” sorts who like to circle around the answer rather than actually arrive at it.And I am especially dismayed at how this version of history implies that the most interesting thing about the experience of Black Americans has been their encounter with whiteness. I figured that the president was being typically hyperbolic when he said that institutions like the museum deepen “societal divides and fosters a sense of national shame, disregarding the progress America has made and the ideals that continue to inspire millions around the globe” — I mean, even something as stupid as that guide to whiteness might just be an outlying mistake. But I was wary that a national museum might squander its chance to illuminate complex topics and expand people’s curiosity, instead trying to corral everyone into caricatures and oversimplifications. As I read the executive order, however, it occurred to me that after all these years, I had yet to actually visit the museum. So, on a sunny Friday afternoon, I decided to zip over to the National Mall to take a look. I will not soon forget what I saw.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Koyo Kouoh, Prominent Art World Figure, Is Dead at 57

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      She had recently been named to oversee next year’s Venice Biennale. She died just days before she was scheduled to announce its theme and title.Koyo Kouoh in 2023. As the curator and executive director of Zeitz MOCAA, one of Africa’s largest contemporary art museums, she had built a global reputation as a torchbearer for artists of color.Tsele Nthane for The New York TimesKoyo Kouoh, one of the global art world’s most prominent figures, who had been slated to become the first African woman to curate the Venice Biennale, died on Saturday in Switzerland. She was 57.Her death was confirmed by the biennale’s organizers. The announcement did not cite a cause or say where in Switzerland she had died.The biennale said that Ms. Kouoh’s “sudden and untimely” death came just days before she was scheduled to announce the title and theme of next year’s event. The statement added that her death “leaves an immense void in the world of contemporary art.”The Venice Biennale is arguably the art world’s most important event. Staged every two years since 1895, it always includes a large-scale group show, organized by the curator, alongside dozens of national pavilions, organized independently.A spokeswoman for the biennale did not immediately respond to a request for comment on what Ms. Kouoh’s death would mean for next year’s exhibition, which is scheduled to run from May 9 through Nov. 22.As the curator and executive director of Zeitz MOCAA, one of Africa’s largest contemporary art museums, Ms. Kouoh built a global reputation as a torchbearer for artists of color from Africa and elsewhere, although her interests were global in reach. “I’m an international curator,” she said last December in an interview with the The New York Times.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Pope Leo XIV’s Creole Roots Tell a Story of New Orleans

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      “This is like a reward from God,” a local parishioner said, as researchers unearthed more details about the lives of Leo XIV’s ancestors in the heart of the city’s Afro-Caribbean culture.One day in June 1900, a census taker visited the New Orleans home of Joseph and Louise Martinez, Pope Leo XIV’s grandparents. They lived on North Prieur Street, just north of the French Quarter, a neighborhood considered the cradle of Louisiana’s Creole people of color.Joseph N. Martinez was recorded as a Black man, born in “Hayti.” His wife, two daughters and an aunt, were also marked “B” in a column denoting “color or race.”Ten years later, the census came knocking again. The family had grown — there were six daughters now. Other things changed, too: Mr. Martinez’s place of birth was listed this time as Santo Domingo, capital of the Dominican Republic. And the family’s race is recorded as “W,” for white.That simple switch, from “B” to “W,” suggests a complex, and very American, story.For much of the 19th century, New Orleans operated under a racial system that distinguished among white people, Black people and mixed-race Creole people like the Martinezes. But by the early 20th century, Jim Crow was the order of the day, and it tended to deal in black and white, with myriad restrictions imposed upon any person of color.The pope’s mother, Mildred Prevost, with her sons, left to right, Robert, John and Louis, outside Holy Name Cathedral in Chicago.via John Joseph PrevostThe selection of Robert Frances Prevost as the first pope from the United States, and the subsequent revelation of his Creole roots, have brought those historical realities to the fore — and an interview with the pope’s brother John Prevost, 71, connected them to the present day. More

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      Trump’s Wishes Aside, Censoring Racial History May Prove Difficult

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      Late last month, when two federal grants to the Whitney Plantation in Louisiana were rescinded, the Trump administration seemed to be following through on its promise to root out what President Trump called “improper ideology” in cultural institutions focused on Black history.After all, the plantation’s mission was to show visitors what life was truly like for the enslaved, contrary to the watered-down Black history that the president seemed to back.Then just as quickly, the grants were restored a few weeks later, the Whitney Plantation’s executive director said in an interview.Because the money had already been approved, “maybe it was an exposure for lawsuits,” the executive director, Ashley Rogers, said, “but who knows?”Ever since Mr. Trump issued an executive order in March decrying cultural institutions that were trying to “rewrite our Nation’s history, replacing objective facts with a distorted narrative driven by ideology rather than truth,” sites like the Whitney Plantation have lived with such uncertainty. An order specifically targeting the Smithsonian Institution tasked Vice President JD Vance and other White House officials with “seeking to remove improper ideology from such properties.”But reversals like the one in Louisiana and actions by the Smithsonian’s National Museum of African American History and Culture seem to indicate some misgivings about the president’s order. They also show that putting historical knowledge back into the bottle after decades of reckoning with the nation’s racist history will be more difficult than the administration believes.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Ryan Coogler’s ‘Sinners’ Deal Made Hollywood Lose Its Mind

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      In 2050, thanks to an advantageous deal he made with Warner Bros., Ryan Coogler will own the rights to “Sinners,” the Black Southern Gothic blockbuster he wrote and directed. The contract gave him final cut and a piece of the box office revenue right from the start, too. Owning his movie about Black ownership in the Jim Crow South was, Mr. Coogler has said, a nonnegotiable.Since the film came out, these contract stipulations have been much discussed, even controversial. That has little to do with why “Sinners” is so enthralling to watch — after all it’s a genre-bending and -blending film, steeped in horror, blues and history, and even has vampires — but everything to do with the film’s central theme, and why it is so resonant: the art of the deal. Negotiation is a central thread in “Sinners,” a repeated motif about the power and consequence of deal-making in America. (This essay includes spoilers for “Sinners.”)The protagonists of “Sinners” are identical twin brothers nicknamed Smoke and Stack, both played by Michael B. Jordan, Mr. Coogler’s longtime collaborator. After serving in World War I and becoming involved with Chicago gangsters, the slick-talking duo return in 1932 to their Mississippi Delta hometown to set up a juke joint, enlisting their gifted cousin Sammie to play guitar. The town, Clarksdale, happens to also be the location of the crossroads where the legendary blues musician Robert Johnson supposedly sold his soul to the devil for mastery over his guitar. With a satchel full of cash and a truck full of liquor, the twins come back to the South having realized that “Chicago is Mississippi with tall buildings instead of plantations.”Their for-us-by-us plan was to generate wealth by owning and operating a blues-drenched sanctuary for Black joy, a private escape from the daily terror of racial oppression. Many of the clientele are Black sharecroppers who have been forced into exploitative contracts by white landowners, a point made evident in “Sinners” when a customer tries to use wooden coins to buy a drink. The fake money is good only at the plantation store.Nobody Black had the leverage to negotiate a good deal in the Jim Crow South. Despite the vampires in the film, the real monsters are the ordinary-seeming men, like Hogwood, the covert Klansman from whom Smoke and Stack buy the mill they are going to turn into the juke joint, who smile as they take your money and shake your hand, and have no intention of honoring the terms.During this time, legalistic disfranchisement was common for Black blues musicians, who were often unaware of how royalties worked, or were intentionally not told how they worked, or were just given a bottle of booze as payment. Bessie Smith thought she was signing a lucrative deal in 1923 with a white executive, Frank Buckley Walker, who oversaw “race records” for Columbia. Walker crossed out the royalty clause in her contract, and Smith was given a fixed fee of $200 per recording; she thought that was a good deal for a Black musician at the time, unaware that white country artists on Columbia often had royalty agreements, even though Smith was more successful than many. Smith received a little less than $30,000 for the 160 recordings she made for Columbia even though her estimated sales reached over six million records in the 1920s.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      White Supremacist Is Charged in 2019 Arson at Tennessee Civil Rights Landmark

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      Regan Prater set fire to the main offices of the Highlander Research and Education Center and took credit for it in encrypted messages, prosecutors said.A Tennessee man with ties to several white supremacist groups has been charged with setting a fire in 2019 that destroyed the offices of a social justice center connected with Rosa Parks and Martin Luther King Jr., according to court records.In a federal criminal complaint that was unsealed on April 24, the F.B.I. said that the man, Regan Prater, 27, set fire to the main offices of the Highlander Research and Education Center in New Market, Tenn., near Knoxville, and spray-painted an Iron Guard cross on the pavement outside.The symbol originated with fascists in Romania in the 1920s and 1930s, according to the Anti-Defamation League. It has more recently been used by white supremacists, including one who murdered 51 people at two mosques in New Zealand in 2019.Investigators in Tennessee said that Mr. Prater, of Tullahoma, took credit for the arson while chatting with an informant on Telegram, an encrypted messaging app that he used to communicate with other white supremacists.“I didn’t admit that, but dots can be connected,” Mr. Prater wrote to the informant when asked if he had set the fire, according to the complaint.He then gave details about how he had started the blaze, telling the informant, “It was a sparkler bomb and some Napalm.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Jazzed About Abstraction: Jack Whitten’s Show Is a Peak MoMA Moment

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      “I’m a product of American Apartheid,” the artist Jack Whitten wrote, a blunt fact that led him to project, in his art, a very different reality, one of “infinite diversity in infinite combinations.” It was a vision that propelled and buoyed him through a nearly six-decade career. “This is why I get up in the morning,” he wrote, “and go to work!”And how very lucky we are, at a moment when references to diversity and difference are being scrubbed from accounts of our national history, to have a refreshing tidal wave of a Whitten career retrospective sweeping and scintillating through the special exhibition galleries on the Museum of Modern Art’s sixth floor.Titled “Jack Whitten: The Messenger,” the show encompasses some 180 paintings, sculptures and works on paper, from a 1963 art-school collage to a final painting from just before he died in 2018. Over that span Whitten called every studio he worked in a “laboratory,” and every piece of art he made an “experiment.” And, indeed, much of what’s in the show challenges ready definition.Whitten at his studio in 1974 with a large rake-like tool that he had made to apply a wide layer of paint to a horizontal canvas.Paul Viani, via The Museum of Modern Art, New YorkSuch is the case with a piece called “The Messenger (for Art Blakey)” installed just outside the first gallery. From a distance it could be a photograph of a star-drenched night sky, or of clouds of foam on a dark sea. Or it could a painting with white paint glopped and dripped, Abstract Expressionist-style, on a black ground. Get close and you find that, in fact, it’s a large rough-textured mosaic pieced together from thousands of pixel-like cubes of dried paint.You consult the title for meaning: Art Blakey, Black drummer extraordinaire, leader in the 1950s of the hardbop group called the Jazz Messengers. Suddenly the glops and drips look sonic, like musical bursts and pings.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Consumer Bureau Seeks to Undo Settlement and Repay Mortgage Lender

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      The Consumer Financial Protection Bureau wants to return a $105,000 penalty it collected last fall when it resolved a discrimination lawsuit.Under President Trump, the Consumer Financial Protection Bureau has dropped nearly a dozen enforcement cases brought during the Biden administration, ending lawsuits against banks and lenders for a variety of financial practices that the watchdog agency no longer considers illegal.But on Wednesday, the bureau went a step further: It is seeking to give back $105,000 that a mortgage lender paid to settle racial discrimination claims last fall.In an especially strange twist, the case — against Townstone Financial, a small Chicago-based lender — was brought during Mr. Trump’s first term by Kathleen Kraninger, the director he appointed to run the consumer bureau.Russell Vought, who became the agency’s acting director last month, said it had “used radical ‘equity’ arguments to tag Townstone as racist with zero evidence, and spent years persecuting and extorting them.”In its filing asking the U.S. District Court for the Northern District of Illinois to set aside the settlement it approved in November, the bureau said it had found “significant undisclosed problems” in its handling of the lawsuit, which the new leadership called an “unmerited” complaint that violated the defendants’ First Amendment free-speech rights.The case began in 2020 when the consumer bureau accused Townstone of redlining and breaking fair-lending laws by discouraging residents living in majority-Black neighborhoods from applying for its housing loans. It homed in on comments made during the company’s radio show and podcast, “The Townstone Financial Show,” saying they were intended to rebuff Black borrowers or those seeking to buy homes in certain neighborhoods.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More