Tag Archives: morgan dowty

Exhibiting Black Art at the BMA and Beyond

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.

Top 6 Prints, Drawings, Photographs at The Baltimore Museum of Art

BMA Curatorial Assistant Morgan Dowty took over our Instagram feed this week to showcase some of her favorite images in our renowned Prints, Drawings & Photographs Collection.

In case you missed it, here’s a roundup of her top six picks from the BMA’s collection of 65,000 works on paper:

  1. Morgan Dowty, BMA Curatorial Assistant, signing on from the Department of Prints, Drawings & Photographs to bring you some of my favorite works on paper this week. With 65,000+ works on paper in the collection, there are plenty to choose from! I’ll begin with a favorite suite of engravings by Wenceslaus Hollar, “Diversa insectorum aligerorum,” c. 1646.

[Wenceslaus Hollar (Bohemian, 1607-1677) “Diversae insectorum aligerorum,” c. 1646. Eight etchings. Each approximately: 115 × 180 mm. (4 1/2 × 7 1/16 in.) Garrett Collection. BMA 1946.112.2413-20]

2. Tantalus, Icarus, Phaeton, and Ixion are four mythological figures whose hubris caused them to fall from Mount Olympia. In this suite of the “Four Disgracers,” Hendrick Golzius, master engraver of the 16th century, captures the falling body from all angles.

[Hendrick Goltzius (Dutch, 1558-1617) after Cornelis Cornelisz. van Haarlem (Dutch, 1562-1638). “The Four Disgracers,”1588. Four engravings. Gift of Ruth Cole Kainen, in Honor of Jay McKean Fisher, Senior Curator of Prints, Drawings and Photographs, BMA 2005.47 / Gift of James and Leslie Billet, Baltimore, BMA 1983.11 / Blanche Adler Memorial Fund, BMA 2013.357 / Garrett Collection, BMA 1984.81.137]

3. This album by Charles Norman Sladen is a new one of my favorites. On each page, Sladen includes photographs from a family vacation in 1916 to Great Chebeague Island, which he expands through imaginative pen and ink drawings. Scroll right to see some detail shots!

[Charles Norman Sladen (American, 1858-1949). “Great Chebeague Island, Maine,” 1916. Album of black ink drawings and gelatin silver print collages, bound with leather and fabric cover. The William G. Baker, Jr. Memorial Fund. BMA 2001.289]

4. In this self-portrait, Käthe Kollwitz captures her own likeness in just a few precise marks.

This image is owned by The Baltimore Museum of Art; permission to reproduce this work of art must be granted in writing. Third party copyright may also be involved.

This image is owned by The Baltimore Museum of Art; permission to reproduce this work of art must be granted in writing. Third party copyright may also be involved.

[Käthe Kollwitz (German, 1867-1945). “Self-portrait,” 1924. Woodcut. Blanche Adler Memorial Fund, BMA 1956.176]

5. Printmakers often pull working proofs, or test prints, as they develop an image to track their progress. Swipe to compare these two states of Felix Bracquemond’s portrait of the French literary critic Edmond de Goncourt.

[Félix Bracquemond (French, 1833-1914). “Edmond de Goncourt,” 1879-1882. Etching. Purchased as the gift of Mrs. Fenwick Keyser, Reisterstown, Maryland, BMA 1997.19 / Purchased as the gift of the Print & Drawing Society, BMA 1983.76]

6. It’s been a treat to share a few of my favorites this week! If you’re interested in exploring more works on paper, consider making an appointment to visit the Samuel H. Kress Foundation Study Room of Prints, Drawings & Photographs by emailing PDP@artbma.org.

[Arthur Wesley Dow (American, 1857-1922) “Group of Buildings, Dow’s Compound, Ipswich,” /”Garden, Dow’s Home, Ipswich,” / “City Island, New York,” c. 1885-1897. Three cyanotypes. Gift of Susan Ehrens, Oakland, California, in Honor of Jay McKean Fisher, BMA 2015.343-345]

Which image is your favorite? Follow us on Instagram at @BaltimoreMuseumOfArt.