A community feels a collective sting as news spreads about the recent theft of a bronze statue honoring the late Lt. Colonel Alexander Jefferson, a member of the renowned Tuskegee Airmen. For Detroit artist Austen Brantley, who crafted the statue, the act represents not just a personal blow but a moment of reckoning for the community about the value of public art and the commitment to preserving Black heritage. “People can destroy art,” Brantley says, “but I won’t give up. I will never stop creating and sharing work that speaks to our interconnected stories.”
This statue, a 600-pound bronze sculpture unveiled in Rouge Park earlier this year, stood as a tribute to Jefferson’s legacy — a proud reminder of Black resilience and accomplishment. Jefferson was part of an all-Black fighter squadron in World War II that defied racial discrimination to protect American bombers. As one of Detroit’s own, he fought on two fronts: against enemies abroad and systemic racism at home. The Airmen’s low loss record earned them respect, but the challenges of their time are far from forgotten. Jefferson passed in 2022, at 100 years old, leaving a legacy of perseverance and pride that Brantley sought to capture in bronze.
Brantley, known for his thoughtful, evocative sculptures, views his work as a bridge connecting personal histories to the broader human story. Each piece embodies narratives of struggle, triumph, and the everyday resilience of marginalized communities. His artistry celebrates Black identity and ensures that stories often overlooked are enshrined in public memory. Brantley explains, “This statue wasn’t just a figure in a park. It was a shared symbol, a connection to those who came before us and fought for the rights we have today. Public art like this reminds us of our past and inspires us to build our future.”
For months, Brantley worked closely with Jefferson’s family to shape a figure that reflected the veteran’s spirit. From his stance to his gaze, every detail of the statue was a testament to the Tuskegee Airman’s legacy as an educator, leader, and a man who served with honor. The unveiling was a significant moment for Brantley, Detroit, and the Jefferson family — a moment of remembrance, solidarity, and celebration of Black achievement.
When the statue was recently found, Brantley’s team awaited details to assess its condition and discuss next steps for restoration. The damage was extensive. The statue had been sawed off at the ankles, and the physical damage reflected a deeper wound. This defacement has sparked conversations about community responsibility, cultural preservation, and the importance of securing public art.
The city’s response will determine more than just the restoration of a statue; it will also signal Detroit’s commitment to protecting and uplifting Black cultural symbols. Brantley emphasizes that public art is not mere decoration; it’s a powerful vehicle for storytelling, a way to connect the community to its past and inspire the next generation. “This is about honoring those who laid the groundwork for us to thrive. These artworks are our history books. They teach us about struggle, resilience, and the dignity that can never be taken away, no matter what,” he states.
Even as Brantley plans for the statue’s restoration, he is far from slowing down. His schedule is packed with new projects, each with its own powerful message. Among them is a public art installation at East Tennessee State University, dedicated to the first five Black students to integrate the university. This work will honor the courage of these students who faced opposition with grace and determination. Another upcoming project, a sculpture for the City of Madison in Wisconsin, will stand as a testament to equality and progress, values that lie at the heart of Brantley’s artistic mission.
Brantley, a self-taught sculptor from Detroit, discovered his talent as a high school junior. He credits his ceramics teacher with nurturing his passion for art, helping him mold beauty and history from clay. Within two years, he was already receiving recognition locally and across Michigan, leading him to pursue sculpting full-time in 2014. His work has since been exhibited in numerous solo and group shows nationwide, including his current 2024 exhibitions, “Galatea: Myth, Love, and Transformation” in Detroit and a joint exhibition at the Indy Art Center.
For Brantley, the theft of the Lt. Col. Jefferson statue is more than a single act of vandalism; it is a reminder of the challenges facing public art and the importance of community stewardship. His work stands as a call to action, urging communities to value and protect the visual stories that speak to our shared experiences and our aspirations. As Detroit moves forward, the restoration of Jefferson’s statue can be a powerful step toward reaffirming the city’s commitment to preserving Black history and honoring the legacies that built it.
For now, Brantley and the Jefferson family wait. The community waits. But the spirit of Lt. Col. Jefferson, immortalized in Brantley’s bronze and in the collective memory of Detroit, will remain unbroken.
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