In February of 1939, the Baltimore Museum of Art exhibited 116 works by 29 black artists. Contemporary Negro Art, co-organized by Harlem Renaissance philosopher Alain Locke and the Harmon Foundation, became one of the first exhibitions at a major American art institution to exclusively display the work of black artists, including Hale Woodruff, Jacob Lawrence, and Dox Thrash.
The BMA revisited the landmark exhibition this summer with 1939: Exhibiting Black Art at the BMA, showcasing work by seven of the 29 artists included in the original show. While the exhibition is indeed a celebration, the BMA isn’t historically immune to racial discrimination. Morgan Dowty, BMA Curatorial Assistant for Prints, Drawings and Photographs—and the exhibition’s curator—will sit down with Dr. Bridget Cooks, author of Exhibiting Blackness: African Americans and the American Art Museum, to dive into the story behind 1939 and examine contemporary representations of black art.
Exhibiting Black Art at the BMA and Beyond takes place Thursday, September 6 at 6pm. Here, Dowty shares her thoughts on the upcoming conversation.
What are you most looking forward to addressing?
I’m excited to talk with Dr. Bridget Cooks because she’s really put Contemporary Negro Art in the context of a larger history of predominately white institutions exhibiting black artists from the 1930s to the present day. Her book, Exhibiting Blackness, delves into several instances when black artists have been positioned in terms of their identity, and highlights key problems with this model of exhibition. Some of the issues that came up in 1939 are the same that we consider today when artists are grouped in exhibition based on race. Having done deep digging myself into this very local history at the BMA, I’m curious to discuss how the show fits into a larger trajectory of American institutions.
What do you hope visitors will take away from this conversation?
I think it is important to consider the BMA’s Contemporary Negro Art within a national context and an expanded sense of time—not just in the 1930s when these exhibitions of black artists are situated in segregation-era America and just starting to enter white institutions. I hope to examine how institutions and individuals play a role in telling these stories, who’s given a platform, and when. It’s also important to consider how this exhibition history carries forward, or how it doesn’t when there are gaps in representation at the BMA and at other institutions. Let’s not make it just a celebration of the fact that the show happened, but really take a critical look at the context. Contemporary Negro Art was an important exhibition, but we need to complicate the narrative, and I think that’s something we’ll do during the discussion.
Exhibiting Black Art at the BMA and Beyond happens Thursday, September 6 from 6pm-7:15pm at the BMA. This conversation is free and open to the public. Learn more.
1939: Exhibiting Black Art at the BMA is on view through October 28, 2018.