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Understanding Black Feminist Theory and the Representation of African American Women's Art in Museums

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Understanding Black Feminist Theory and the Representation of African American Women's Art in Museums UNDERSTANDING BLACK FEMINIST THEORY AND THE REPRESENTATION OF AFRICAN AMERICAN WOMEN’S ART IN MUSEUMS: ENGAGING BLACK WOMEN IN CRITICAL DIALOGUE By AMBER CHANEL COLEMAN B.A., Mercer University, 2014 An Applied Project Submitted to the Lamar Dodd School of Art of the University of Georgia In Partial Fulfillment of the Requirements for the Degree MASTERS OF ART EDUCATION Athens, Georgia 2018 ENGAGING BLACK WOMEN IN CRITICAL DIALOGUE ii UNDERSTANDING BLACK FEMINIST THEORY AND THE REPRESENTATION OF AFRICAN AMERICAN WOMEN’S ART IN MUSEUMS: ENGAGING BLACK WOMEN IN CRITICAL DIALOGUE By AMBER CHANEL COLEMAN Approved: ________________________________________________ MAJOR PROFESSOR _________________________________________________ DATE ENGAGING BLACK WOMEN IN CRITICAL DIALOGUE iii UNDERSTANDING BLACK FEMINIST THEORY AND THE REPRESENTATION OF AFRICAN AMERICAN WOMEN’S ART IN MUSEUMS: ENGAGING BLACK WOMEN IN CRITICAL DIALOGUE By AMBER CHANEL COLEMAN (Under the Direction of Christina Hanawalt) ABSTRACT This applied project, Understanding Black Feminist Theory and the Representation of African American Women’s Art in Museums: Engaging in Critical Dialogue, investigates how exposure to critical theories like Black feminist theory can inform a critical pedagogical experience about the representation of African American women’s art in museums. In regard to art and museum education, black women can address their marginalization to articulate their experiences through art-making and hosting an exhibition. This report serves as evidence of a project that allowed a group of black women to explore Black feminist theory and African American women’s art in museums in order to create an exhibition about that exploration. ENGAGING BLACK WOMEN IN CRITICAL DIALOGUE iv DEDICATION The project was a collaborative effort from the beginning. While I may have constructed and facilitated the space where this project existed, I could not have done it without the advice, input, and words of encouragement of those closest to me and those that I met during this process. This project is for my family, my friends, my participants, the Black women in my life, and every Black girl and woman everywhere. ENGAGING BLACK WOMEN IN CRITICAL DIALOGUE v ACKNOWLEDGEMENTS I want to thank the members of my committee, Dr. Christina Hanawalt, Dr. Lynn Sanders- Bustle, Dr. Carissa DiCindio, and Dr. Shawnya Harris for their encouragement and guidance during the course of my time at the University of Georgia as well as during the application of this project. Thank you to the Black women scholars, Dr. Mora Beauchamp-Byrd, Dr. Beverly Guy- Sheftall, Dr. Nichole Ray, and Makeba Dixon-Hill, for speaking with me and providing suggestions as I worked on this project. Thank you to Dr. Katie Geha and Erin Riggins for helping us to pull off an amazing exhibition at the Dodd Galleries. Thank you to my family, especially my grandmother, and friends, who gave me advice, answered my questions, and inquired about the progress of this project. Last, but not least, a special thank you to all of the women in my personal and professional life. You inspired me to contemplate our experiences in relation to art education. This was not just my project; it was for all of us. ENGAGING BLACK WOMEN IN CRITICAL DIALOGUE vi TABLE OF CONTENTS ABSTRACT ....................................................................................................................... iii DEDICATION ................................................................................................................... iv ACKNOWLEDGEMENTS ................................................................................................ v CHAPTER 1: Introduction ................................................................................................ 12 Background of the Problem ................................................................................... 13 Statement of Purpose ............................................................................................. 14 Research Questions ............................................................................................... 15 Significance of the Study ....................................................................................... 16 CHAPTER 2: Literature Review ....................................................................................... 17 Black Feminist Theory .......................................................................................... 17 Contemporary Museum Practice and Theory ........................................................ 24 Critical Pedagogy .................................................................................................. 27 Need for This Particular Research ......................................................................... 31 CHAPTER 3: Methodology and Implementation ............................................................. 33 Being a Researcher, Participant, and Artist/Curator ............................................. 36 Being a Researcher .................................................................................... 36 Being a Participant .................................................................................... 38 Being an Artist/Curator ............................................................................. 42 Project Design ....................................................................................................... 43 Site of the Study ........................................................................................ 43 Beginning the Study .................................................................................. 44 Data Collection ...................................................................................................... 47 ENGAGING BLACK WOMEN IN CRITICAL DIALOGUE vii Implementation ...................................................................................................... 48 Introduction to Museums ............................................................................ 48 Exploring Theory, History, and Practice .................................................... 57 Creating Artwork and Curating an Exhibition ............................................ 60 Opening an Exhibition ................................................................................ 67 CHAPTER 4: Findings ...................................................................................................... 71 Participant Understandings .................................................................................... 71 Re-Envisioning Museum Spaces as a Place of Belonging ........................ 71 Re-Interpreting Museum Text ................................................................... 74 Using Experience as Knowledge: Creating Art for an Exhibition ............ 79 Connecting Process to Product .................................................................. 90 Active Participant Facilitation ............................................................................... 94 Carving Out a Space: Creating a Critical Pedagogical Experience ........... 94 Utilizing Theory and the Plurality of Text and Experience in Curating an Exhibition .................................................................................................. 99 Visitors’ Response to a Call ................................................................................ 108 Fueling Empowerment ............................................................................ 108 Thankfulness for the Work ...................................................................... 111 CHAPTER 5: Conclusions and Implications .................................................................. 114 Reflections and Recommendations ..................................................................... 114 Participant Involvement ........................................................................... 114 Curriculum Guide Activity Improvements .............................................. 114 Alternative Curation Decisions ............................................................... 117 ENGAGING BLACK WOMEN IN CRITICAL DIALOGUE viii Conclusions ......................................................................................................... 119 Implications ......................................................................................................... 128 REFERENCES ................................................................................................................ 130 APPENDICES ................................................................................................................. 134 APPENDIX A: INITIAL CURRICULUM GUIDE ............................................ 134 APPENDIX B: APPLIED PROJECT OVERVIEW ........................................... 140 APPENDIX C: PROJECT AND FIRST MUSEUM VISIT OVERVIEW FOR THE GEORGIA MUSEUM OF ART ......................................................................... 142 APPENDIX D: SLIDE PRESENTATION ABOUT THE GEORGIA MUSEUM OF ART AND EXPANDING TRADITION ............................................................ 145 APPENDIX E: REFERENCE GUIDE FOR “EXPANDING TRADITION” EXHIBITION ...................................................................................................... 146 APPENDIX F: PROJECT AND SECOND MUSEUM VISIT OVERVIEW FOR THE SPELMAN COLLEGE MUSEUM OF FINE ART ............................................ 150 APPENDIX G: SLIDE PRESENTATION ABOUT THE
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