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https://www.nytimes.com/2015/08/20/arts/design/what-i-learned-from-a-disgraced-art-show-on-harlem.html

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Virgin Eyes

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Credit...Tim Robinson

  • Aug. 19, 2015

Some first-time art encounters are life-changers, and you know it instantly. They zap you, cast a spell, send you back out with your eyes and mind rewired. Other encounters are just as deep, but don’t seem to be, because you’re not ready for them. You don’t know what you’re looking at, though some day you will, and you’ll wish you could be back there again, equipped with all you’ve learned. “Harlem on My Mind” at the Metropolitan Museum of Art was that kind of show for me.

It opened early in 1969, when the world felt like a slow-motion explosion. Richard Nixon was entering the White House. The Vietnam War ground on. Martin Luther King Jr. had been killed nine months earlier, and aftershocks were still coming. Racial tension was as sharp and pervasive as the tang of tear gas in the air.

I was in college in Massachusetts and at some point that winter spent a few days in New York. No idea why, although it was almost certainly not to see art. I was into literature at that point, and music, and politics. Yet the one recollection I have of that visit is an art memory, of being at a show at the Met that was getting the blockbuster treatment: prime space, extra-large banner out front.

Image

“Harlem on My Mind” at the Met in 1969. The exhibition included no paintings or sculptures by black artists.Credit...The Metropolitan Museum of Art

The exhibition — its full title was “Harlem on My Mind: Cultural Capital of Black America, 1900-1968” — was strange. It opened with floor-to-ceiling photomurals of the kind used in an introductory gallery to set the mood for the art ahead. But there was no art ahead, or not what I then considered art, meaning paintings and sculptures. (In those days, photography’s status was iffy.) Instead, there were just more photographs, large and small, of everyday life in Harlem, a neighborhood I’d never seen. I’d also never seen an art show so much like a science-museum display. I didn’t know what to do with any of this. So I left thinking: What was that about?

I was unaware that a lot of people, among them Harlem artists, were asking the same question. I didn’t know that the show had been savaged in the press. Or that it was widely viewed within black cultural circles as an insult, a blunt assertion by the white establishment that African-American art wasn’t good enough to show. I didn’t know that, in a desperate attempt at damage control, the Met’s director, Thomas Hoving, had publicly apologized for the show, or some aspect of it, as “an error in judgment.”


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