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 There are more than 100 African-American museums across the United States, with Chicago’s DuSable Museum, established in 1960, being the oldest. But for blacks, ownership of art institutions is still a relatively new endeavor. Keeping these museums in sound financial health has its own set of challenges. Here, two directors of African-American institutions—Charmaine Jefferson of the well-established California African American Museum in Los Angeles (CAAM) and Laurie Cumbo of the emerging Museum of Contemporary African Diasporan Arts (MoCADA) in Brooklyn—discuss the current and future state of the African-American arts community.
Laurie Cumbo: Since our inception eight years ago, the community has responded very well to MoCADA. We have partnered with some of the largest institutions in the country, including The Metropolitan Museum of Art and the Brooklyn Museum. But I am frustrated that, in many ways, the museum seems to be preaching to the choir. The majority of the people who visit are conscientious educators, writers, artists, and community activists. The people who most need to see the cultural contributions of the African diaspora are often not the ones who •nd it of interest or relevant to their lives. As an organization, we must have the appropriate staf•ng and marketing budgets to reach in•side the housing projects, labor unions, private schools, churches, etc. Charmaine Jefferson: The California African American Art Museum was founded 30 years ago as an act of the state legislature. Our mission is to collect, research, and preserve the history of art and culture of African-Americans. I’ve had people look at me and say, “You need to narrow down your mission—it’s too broad.” But I disagree. Our art, history, and culture are not separate from one another. Cumbo: It takes an incredible amount of marketing to reach cer•tain communities. I think we should have the same kind of approach of a newly elected of•cial. You have to get inside a community and let them know exactly what it is you’re offering. I would like to see a better mix of community people [in our museum].
Jefferson: In Los Angeles, about 70 percent of the population is Latino. In many ways there might not be an immediate connection because they don’t necessary see themselves in our exhibition. So we’re always sharing with our audience how our exhibitions relate to them, and I consider that a forward progression. We want people to understand that African-Americans stand for a wide range of aesthetics and interests. That’s where your issue with money comes from—you’ve got to change the perception. Cumbo: And, for institutions, you have to set your expectations high and constantly demand what it is that you want. If you want $50,000, ask for $100,000. The challenge with being black is that you’ve been taught to respect the earth, energy, and the universe— basically, don’t take more than you need. So, we’ve always been very humble in terms of what we’ve been asking for. As black peo•ple, we have to become more comfortable with asking for what we sufciently need. Jefferson: It’s hard for all organizations right now, but here’s the distinction: Twenty, 30, even 50 years ago, there was a time when philanthropy improved your social status. Nowadays you have younger wealthier people who don’t yet understand the value of what they’ll get back in return when they give. U [Images: Ordem e Progresso and Belle Isa by Alexis Peskine]
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