By D. Kevin McNeir
Special to the AFRO
If you happen to find yourself in the heart of Washington, D.C.’s U Street corridor, you’re probably either headed toward the Lincoln Theatre for a night out on the town, or to Ben’s Chili for a half smoke and french fries drizzled with cheese.
However, there’s another gem in the vicinity just waiting to be discovered.
Located at 1200 U St. NW is a stately five-story brick structure, the True Reformer Building, dedicated in 1903, which represents the first building in the U.S. designed, built, financed and owned by African Americans.
There are other “firsts” that deserve merit as well. The building’s architect, John Anderson Lankford, was the first professionally licensed African-American architect in Washington, D.C. The original owners of the building, for whom it is named, were members of a Black organization – the Grand United Order of True Reformers.
Another first associated with the building – it’s the place where D.C. native son Duke Ellington gave his first public performance. In addition, not only did he grow up just a few blocks away, but his face is prominently featured on the outer wall of the building.
On July 15, the True Reformer Building, now owned by the Public Welfare Foundation, marked its 123rd anniversary.
Under the guidance of President and CEO Candice Jones, the Foundation has ramped up its commitment to criminal and juvenile justice and social uplift efforts by providing grants to nonprofit organizations who provide services to those living in underserved communities.
“We know that the way to eradicate the problem of inadequate safety is by investing in things like better lighting and more job opportunities, not by hiring more police officers.” – Candice C. Jones, President and CEO Public Welfare Foundation
“We do justice reform work which is something difficult to talk about or to understand,” Jones said. “However, we know that the way to eradicate the problem of inadequate safety is by investing in things like better lighting and more job opportunities–not by hiring more police officers. We juxtapose that to art.”
Credit: Photo Courtesy Amanda Archibald, Public Welfare Foundation
As you enter the main lobby to the True Reformer Building, a mural representing the ancestors hovering in the skies, created by Kaliq Crosby, a native Washingtonian, Maryland Institute College of Art alumni and a professional muralist for more than two decades, hangs from the ceiling.
On the fifth floor of the building, Crosby has created a mural that stretches from the front to the rear of the building which represents a Black history lesson composed of icons, unknown warriors and dedicated soldiers all participants in the ongoing quest for Black equality and justice.
“My practice focuses on preserving the first achievements of African-American pioneers and highlighting histories through vibrant, emotionally resonant portraiture,” Crosby said, in information available on his website. “My murals serve as visual anchors in underserved neighborhoods, often transforming public spaces into platforms for education, pride and storytelling.”
Jones said experiencing works by creatives like Crosby was essential to her vision of bringing greater exposure both to the building because of its historic significance and to the artists who because of their gender, ethnicity, place of birth or economic status, have often been ignored and marginalized.
“Some describe efforts to overlook or diminish the accomplishments of those who are not part of the dominant class, culture and color as intentional erasures,” Jones said. “Humans decide what to honor and what should be viewed as sacred.”
A relative newcomer on the art scene who has several works featured in the building is Samsins (born Samson Akanmu) – a Nigerian American Maryland-based artist known for his signature “crayon-esque” flowers and bold, graphic motifs.
Samsins has been drawing since childhood but only began to concentrate on painting a year ago. He made his public debut at the Black Boy Art Show earlier this year in D.C. where he received strong support and encouragement for his work.
“I like to create visual worlds that explore the vulnerability, identity, memory, and complexities of being Black in the world today,” Samsins said. “I paint what I know – lived experiences. And I focus on transforming those experiences into emotionally charged storytelling.
Samsins added that while he’s not sure why Jones and her team selected his three paintings that can be viewed on the first floor, he’s honored that they did.
Amber W. Harding, a D.C.-based attorney, serves as the executive director for the Washington Legal Clinic for the Homeless, one of the first tenants of the True Reformer Building who moved in the building after renovations were completed and it was reopened to the community.
“We were offered the space in the fall of 2003 and we’ve been there ever since,” Harding said. “Our organization envisions a District of Columbia where housing is a human right, racial justice is a reality, and all people have true and meaningful access to the resources needed to thrive.
“The True Reformer Building has a long, storied history in D.C. and has been particularly meaningful to Black D.C. residents, both as a place of historic achievement and as a gathering place and social space.”
Harding said she believes Jones chose the art now on display to amplify the voices, visions, and experiences of people who have undergone tremendous oppression in the D.C. community and beyond.
“Art can reflect who we are and how we experience our community,” Harding said. “Or it can show the joy that persists despite hard times. Sometimes, art can draw attention to adversity and inspire us to change the world around us.”
Jones shared similar thoughts.
“We’ve chosen to support the works of those who have been left out. Those whose work is its own form of resistance – acts of resistance which is done without saying a word. And we continue to look for and support artists who have the same kind of determination as the original True Reformers,” Jones said. “They left behind a legacy of which we can all be proud – one which we must never allow to be erased from the history of Washington, D.C., or America.”
