How African-American Artists Fought to Diversify Museums
How African-American Artists Fought to Diversify Museums
Artsy Editorial
By Isaac Kaplan
Dec 27th, 2016 9:00 pm
Via Duke University Press. © Jan Van Rey
In 1969, a white curator named Allon Schoener mounted an exhibition titled “Harlem on My Mind” at the Museum of Metropolitan Art. Despite being the first-ever exhibition of African-American art at the museum, however, it included only archival material and the work of photographers (then considered to be beneath the status of fine art), and failed to include a single non-photographic work created by a black artist. The exhibition immediately provoked an outcry from the very people it aimed to represent. African-American artists picketed the museum, furious with Schoener’s oversight. Though the exhibition was radical in one way—showcasing a medium that deserved serious attention—it ultimately represented one of many missteps from the curator, demonstrating the lack of diversity within the institution.
The exhibition is one of three addressed in Susan Cahan’s new book Mounting Frustration: The Art Museum in the Age of Black Power, which looks at how major New York museums marginalized African-American artists in the late 20th century, and how those artists responded amid a rising black power movement. From “Harlem on my Mind” at the Met to “Contemporary Black Artists in America” at the Whitney in 1971 to MoMA’s “‘Primitivism’ in 20th Century Art: Affinity of the Tribal and the Modern” in 1984, the major institutions of the New York art world attempted to exhibit African-American artists while refusing to put them on an equal footing with the white canon or to commit to structural changes by hiring curators of color.
Now Associate Dean and Dean of the Arts at Yale College, Cahan has drawn from her background working in museums like the New Museum and MoMA to craft a book that powerfully demonstrates the way in which broader social and political forces are felt inside museum walls. And though the art world is different today, “the most significant change since the 1970s has not been full integration or equality, but the development of a two-tiered system of cultural institutions, one ‘mainstream’ and the other ‘culturally specific,’” Cahan writes.
Mounting Frustration is a crucial read for anyone who is interested in understanding why the New York art world looks the way it does. The book also furthers an understanding of how activism and negotiation can be used to change institutions going forward. I sat down with Cahan to discuss the ways in which museums respond to political demands, the relationship between artists and institutions, and how the history of the 1970s and 1980s can help us imagine a different art world in the future.
How African-American Artists Fought to Diversify Museums
Artsy Editorial
By Isaac Kaplan
Dec 27th, 2016 9:00 pm
![](https://d7hftxdivxxvm.cloudfront.net?resize_to=width&src=https%3A%2F%2Fartsy-media-uploads.s3.amazonaws.com%2Ff4Auj-EhiTtDwvbHCAIVXQ%252Fb.jpg&width=1100&quality=95)
Via Duke University Press. © Jan Van Rey
In 1969, a white curator named Allon Schoener mounted an exhibition titled “Harlem on My Mind” at the Museum of Metropolitan Art. Despite being the first-ever exhibition of African-American art at the museum, however, it included only archival material and the work of photographers (then considered to be beneath the status of fine art), and failed to include a single non-photographic work created by a black artist. The exhibition immediately provoked an outcry from the very people it aimed to represent. African-American artists picketed the museum, furious with Schoener’s oversight. Though the exhibition was radical in one way—showcasing a medium that deserved serious attention—it ultimately represented one of many missteps from the curator, demonstrating the lack of diversity within the institution.
The exhibition is one of three addressed in Susan Cahan’s new book Mounting Frustration: The Art Museum in the Age of Black Power, which looks at how major New York museums marginalized African-American artists in the late 20th century, and how those artists responded amid a rising black power movement. From “Harlem on my Mind” at the Met to “Contemporary Black Artists in America” at the Whitney in 1971 to MoMA’s “‘Primitivism’ in 20th Century Art: Affinity of the Tribal and the Modern” in 1984, the major institutions of the New York art world attempted to exhibit African-American artists while refusing to put them on an equal footing with the white canon or to commit to structural changes by hiring curators of color.
Now Associate Dean and Dean of the Arts at Yale College, Cahan has drawn from her background working in museums like the New Museum and MoMA to craft a book that powerfully demonstrates the way in which broader social and political forces are felt inside museum walls. And though the art world is different today, “the most significant change since the 1970s has not been full integration or equality, but the development of a two-tiered system of cultural institutions, one ‘mainstream’ and the other ‘culturally specific,’” Cahan writes.
Mounting Frustration is a crucial read for anyone who is interested in understanding why the New York art world looks the way it does. The book also furthers an understanding of how activism and negotiation can be used to change institutions going forward. I sat down with Cahan to discuss the ways in which museums respond to political demands, the relationship between artists and institutions, and how the history of the 1970s and 1980s can help us imagine a different art world in the future.