{"id":7025101,"date":"2026-08-03T13:41:34","date_gmt":"2026-08-03T13:41:34","guid":{"rendered":"https:\/\/peraltafinancing.com\/uncategorized\/on-americas-250th-anniversary-tracy-weisman-loves-and-mourns-her-country-at-once\/"},"modified":"2026-08-03T13:41:34","modified_gmt":"2026-08-03T13:41:34","slug":"on-americas-250th-anniversary-tracy-weisman-loves-and-mourns-her-country-at-once","status":"publish","type":"post","link":"https:\/\/fivemor.com\/?p=7025101","title":{"rendered":"On America\u2019s 250th Anniversary, Tracy Weisman Loves and Mourns Her Country at Once"},"content":{"rendered":"


\n<\/p>\n

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In 1976, Tracy Weisman watched the Tall Ships sail into Newport Harbor and felt what she calls a shared sense of great national pride. Fifty years later, she\u2019s not so sure. \u201cSome Birthday, America,\u201d her solo show at CUSP Gallery in Newport, Rhode Island, timed to the country\u2019s 250th, is the work of an artist who loves her country and grieves for it at the same time. A speechwriter for two decades, Weisman now tells stories in materials instead of words: flags sliced open and stitched back together with golden zippers, quilts and textiles in a palette of red, white, blue, and black she couldn\u2019t seem to put down. It is candid, sometimes angry, and, she insists, still hopeful. We asked her how it came together.<\/p>\n

The Child at the Harbor<\/h2>\n

In 1976 you watched the Tall Ships sail into Newport Harbor for the Bicentennial and felt, in your words, \u201ca shared sense of great national pride.\u201d Fifty years later, \u201cour 250th? That\u2019s a different story.\u201d What happened in the space between the child at the harbor and the artist making this show?<\/strong><\/p>\n

Tracy Weisman:<\/strong> Children take their cues from the adults around them. In 1976, America was having a big birthday and everyone was invited. There was also a sense of relief that the long Vietnam War was finally over and that perhaps better times were ahead.<\/p>\n

\"Tracy\"Tracy
Tracy Weisman, \u201cFour-Letter Words,\u201d 2026.
Mixed media: acrylic on canvas, netting,
vintage French tin sign letters, 33 \u00d7 45 inches.
Courtesy of the artist.<\/figcaption><\/figure>\n
\"Tracy\"Tracy
Tracy Weisman, \u201cIndivisible,\u201d 2025.
Textile: inkjet print on cotton, patchwork,
machine embroidery, 24 \u00d7 42 inches.
Courtesy of the artist.<\/figcaption><\/figure>\n

As an adult, I\u2019m very proud of America at our best, but we must be able to acknowledge contradictory views as well. While our founding documents declared that all persons are created equal, our country grew on stolen land and prospered on the backs of enslaved humans. Our inability to reconcile that evil is a weed that has never stopped growing, and it\u2019s become even more pernicious in the post-Obama era. Institutions that once felt stable have been shoved off their foundations. We\u2019re seeing voting rights, reproductive rights<\/a>, the independence of the judiciary, and even basic norms of civic behavior unravel. Antisemitism, Christian nationalism, anti-immigrant sentiment<\/a> and political violence have reemerged in ways I never imagined I would see in my lifetime. Some Birthday, America.<\/p>\n

\n
\n

I can think of no better time to look critically at who we are and rededicate ourselves to the never-ending work of creating a more perfect union.<\/p>\n<\/blockquote>\n<\/figure>\n

The exhibition grew out of that tension. Familiar but altered American symbols\u2014flags, quilts, textiles, the human figure\u2014encapsulate the affection and unease I and many others are feeling right now. Creating this work was cathartic; perhaps viewing it will be, too.<\/p>\n

I believe in the connectedness of all things and try to stay open to the messages we are sent. To wit, late in my preparation for the show, I learned that a Rhode Island ancestor on my father\u2019s side, Lt. Jonathan Brownell, age 56, fought and was wounded at the Battle of Bunker Hill in 1775. He died of his injuries a year later, a mere three weeks before the signing of the Declaration of Independence. 250 years later, I still love the imperfect country he and so many others gave their lives to establish, and have dedicated Some Birthday, America to my 5x great-grandfather Jonathan. I can think of no better time to look critically at who we are and rededicate ourselves to the never-ending work of creating a more perfect union.<\/p>\n

\"Tracy\"Tracy
Tracy Weisman, \u201cTo Bigotry No Sanction,
To Persecution No Assistance.\u201d
Mixed media: salvaged quahog shells, type.
Courtesy of the artist.<\/figcaption><\/figure>\n

You\u2019ve said that looking back at a year of work, you realized you kept returning to the same palette of red, white, blue and black, \u201calmost as though I were designing a couture collection,\u201d and that the tension between patriotism and unease became the impetus for the show. How did the show come together?<\/strong><\/p>\n

Weisman:<\/strong> The studio is where I work through complex feelings, and color provided the language I needed to love and mourn my country simultaneously. The firehose of norm-shattering behavior allowed the work to just flow. As the work accumulated, I felt an urgent responsibility to share it during the 250th. It\u2019s not an easy show, and I\u2019m deeply grateful to Curtis Speer at CUSP Gallery for his unflinching support and partnership.<\/p>\n

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\n

We\u2019ve been torn, but we also have tools for healing. Which way we\u2019ll zip is up to us.<\/p>\n<\/blockquote>\n<\/figure>\n

For two decades you were a speechwriter, and you\u2019ve described it as training you to think about \u201cemotional architecture\u201d and \u201cthe weight that language carries in public life.\u201d Now the stories are yours, told in materials instead of words. How does writing in someone else\u2019s voice turn into creating in your own?<\/strong><\/p>\n

Weisman:<\/strong> I\u2019ve always told stories, beginning when I was a child imagining conversations between the stuffies and dolls on my bed. As a speechwriter, I encouraged my clients to embrace storytelling as a way to make ideas stick, and I do that today in my visual arts practice. The only difference is I\u2019m now using objects instead of words to communicate.<\/p>\n

Cutting and Mending \u201cSome Birthday, America\u201d<\/h2>\n

In \u201cSome Birthday, America,\u201d you slice into an American flag and stitch it back together with zippers. You\u2019ve said cutting can mean \u201cdisruption\u201d and stitching can mean \u201crepair, care, labor, inheritance.\u201d What were you cutting into, and what were you trying to mend?<\/strong><\/p>\n

Weisman:<\/strong> A zipper is a brilliant metaphor: it can either separate two sides or unite them. To me, merging that metaphor with America\u2019s most recognizable symbol epitomizes our 250th; we\u2019ve been torn, but we also have tools for healing. Which way we\u2019ll zip is up to us.<\/p>\n

\n
\n

History isn\u2019t something that happened in the dusty past; it happens every day. Whether through our action or inaction, we\u2019re all signatories. In 2076, what will be said of us?<\/p>\n<\/blockquote>\n<\/figure>\n

\"Tracy\"Tracy
Tracy Weisman, \u201cInheritance.\u201d
Mixed media: upcycled and embellished hat
and clothing, ball chain, vinyl, paintbrush.
Courtesy of the artist.<\/figcaption><\/figure>\n

A recent New York Times piece by Adam Liptak, marking the 250th anniversary<\/a>, revisited how uneasy the founders were about the office they were inventing, and asked whether their design still holds the balance they wanted. Benjamin Franklin warned at the 1787 convention that the executive would keep \u201cincreasing\u2026 till it ends in a monarchy\u201d; Hamilton cautioned that those who \u201coverturned the liberties of republics\u201d often \u201cbegin their career by paying an obsequious court to the people; commencing demagogues, and ending tyrants.\u201d When a viewer stands in front of your work, what do you want them to remember about what the founders built, and what they feared?<\/strong><\/p>\n

Weisman:<\/strong> Our founders were students of history enough to know that without guardrails, humans inevitably succumb to the temptations of power. Their model for our republic and its experiment in self-governance was a blueprint (full of compromises) of how we might avoid that fate. I appreciate this question, because as I worked on Some Birthday, America, I did imagine having a pint with John Adams and Ben Franklin, who were shaking their heads at me. \u201cFor heaven\u2019s sake, we tried to warn you! Did you even read past the first paragraph?\u201d<\/p>\n

I would never prescribe what viewers should remember, and I look forward to hearing the many responses to my work. For me, this show has reinforced the idea that history isn\u2019t something that happened in the dusty past; it happens every day. Whether through our action or inaction, we\u2019re all signatories. In 2076, what will be said of us?<\/p>\n

Tracy Weisman on Helping the Helpers<\/h2>\n

The fundraiser turns on George Washington\u2019s 1790 letter to Newport\u2019s Touro Synagogue, his promise of \u201cto bigotry no sanction, to persecution no assistance,\u201d stamped onto hundreds of quahog shells you gathered at Narragansett and hung on a fishing net. Why those words now, and why was it important to give visitors a way to do something constructive rather than only to look?<\/strong><\/p>\n

Weisman:<\/strong> While Washington was referring specifically to religious liberty, I\u2019m expanding his definition to include bigotry and persecution of all kinds. Authoritarians gain power by dehumanizing marginalized communities, and it\u2019s shocking to see our government adopting Gestapo tactics in 2026. One way to push back against authoritarianism is to \u201chelp the helpers,\u201d as Fred Rogers used to say, so all funds raised from the shells and other small items will be donated to a Newport social service agency that\u2019s been providing support for those in need for decades. Reflection is most valuable when it leads to action and the show provides an opportunity for visitors to act if they feel moved to do so.<\/p>\n

You\u2019ve said you \u201cwelcome ideas that don\u2019t necessarily have a tidy ending,\u201d that a lack of closure \u201cgives viewers agency.\u201d In a show this politically charged, how do you hold the work open enough for affection and unease to live in the same room?<\/strong><\/p>\n

Weisman:<\/strong> As an American artist, I have chosen the occasion of our 250th anniversary to exercise my First Amendment right to speak candidly about my government. I will also believe\u2014to my last breath\u2014in the fundamental good of the American people, and that gives me hope\u2026which also happens to be the state motto of Rhode Island!<\/p>\n

As such, and despite its candor, Some Birthday, America is ultimately a hopeful show. I hope it invites discussion, creates community and reminds us that by focusing less on our differences and more on what we share, we can still get closer to the America our founders had in mind.<\/p>\n

\"Artist\"Artist
Tracy Weisman in her Rhode Island studio. Photo by Madison Van Wylen.<\/figcaption><\/figure>\n

Tracy Weisman\u2019s solo exhibition \u201cSome Birthday, America\u201d is on view at CUSP Gallery<\/a> in Newport, Rhode Island, June 27 to July 19, 2026, with an opening reception on June 27 from 5 to 8 p.m.<\/em><\/p>\n

Featured image: Tracy Weisman, \u201cSome Birthday, America,\u201d 2026. Textile: cotton American flag, zippers, 48 \u00d7 72 inches. Courtesy of the artist.<\/p>\n<\/div>\n\n","protected":false},"excerpt":{"rendered":"

In 1976, Tracy Weisman watched the Tall Ships sail into Newport Harbor and felt what she calls a shared sense of great national pride. Fifty years later, she\u2019s not so sure. \u201cSome Birthday, America,\u201d her solo show at CUSP Gallery in Newport, Rhode Island, timed to the country\u2019s 250th, is the work of an artist […]<\/p>\n","protected":false},"author":1,"featured_media":7025104,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[111624,134448,188747,188749],"tags":[37460,17103,3108,1030,3751,72567,8252,188750],"dealstore":[],"offerexpiration":[],"class_list":["post-7025101","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-america","category-immigrant","category-reproductive-rights","category-top-a","tag-250th","tag-americas","tag-anniversary","tag-country","tag-loves","tag-mourns","tag-tracy","tag-weisman"],"yoast_head":"\nOn America\u2019s 250th Anniversary, Tracy Weisman Loves and Mourns Her Country at Once - Som2ny Network<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/fivemor.com\/?p=7025101\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"On America\u2019s 250th Anniversary, Tracy Weisman Loves and Mourns Her Country at Once - Som2ny Network\" \/>\n<meta property=\"og:description\" content=\"In 1976, Tracy Weisman watched the Tall Ships sail into Newport Harbor and felt what she calls a shared sense of great national pride. 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