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Materializing Blackness: the Politics and Production of African Diasporic

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Materializing Blackness: the Politics and Production of African Diasporic A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree by Examining Committee Members: ABSTRACT “Materializing Blackness: The Politics and Production of African Diasporic Heritage” examines how intellectual and civic histories collide with the larger trends in the arts and culture sector and the local political economy to produce exhibitions at the African American Museum in Philadelphia (AAMP) and structure the work that museum exhibitions do to produce race visually for various audiences. Black museums are engaged in the social construction of race through their exhibitions and programs: selecting historical facts, objects and practices, and designating them as heritage for and to their audiences. In tracking this work, I am interested in 1) the assemblages of exhibits that are produced, as a function of 2) the internal logics of the producing institutions and 3) larger forces that structure the field as a whole. Looking at exhibits that engage Blackness, I examine how heritage institutions use art and artifacts to visually produce race, how their audiences consume it, and how the industry itself is produced as a viable consumptive market. Undergirded by the ways anthropologists of race and ethnicity have been explored and historicized race as a social construction I focus on an instantiation of the ways race is constructed in real time in the museum. This project engages deeply with inquiries about the social construction of race and Blackness, such as: how is Blackness rendered coherent by the art and artifacts in exhibitions? How are these visual displays of race a function of the museums that produce them and political economy of the field of arts and culture? Attending to the visual, iii intellectual, and political economic histories of networks of exhibiting institutions and based on ethnographic fieldwork in and on museums and other exhibiting institutions, this dissertation contextualizes and traces the production and circulation of the art and artifacts that produce the exhibitions and the museum itself as a way to provide a contemporary concrete answer. Overall “Materializing Blackness” makes the case for history and political economy as ghosts of production that have an outsized impact on what we see on exhibition walls, and are as important to the visual work as a result. Further it takes the Black museum as a site of anthropological engagement as a way to see the conjuncture of the aesthetic and the political, the historical and the material in one complicated node of institution building and racecraft in the neoliberal city. iv For my mother, Donna Ventress, with love v ACKNOWLEDGMENTS This dissertation and the research it relied on was aided by so many people who deserve recognition. First I want to thank my doctoral thesis committee, Dr. Jayasinhji Jhala, Dr. Sydney White and Dr. Judith Goode for their service and guidance on and beyond this project. To Judy especially, I am grateful for so many years of training and feedback on this marathon of an endeavor, and glad to cross this finish line with you. Thank you to Dr. Monique Scott, who supplied enthusiastic responses and deep provocations on this dissertation as an external committee member. I look forward to continuing this conversation. To Dr. L. Christie Rockwell, I appreciate your commitment to ending this process efficiently, and Yvonne Davis, your years of support and kindness make all the difference in smoothing out the rough, complicated parts. The Graduate School provided education and research support, through the Future Faculty Fellowship, as well as FSRI and SROP-AGEP summer research grants. Cynthia Harmon Williams and Dr. Zebulon Kendrick in particular deserve thanks for crucial institutional support at its early stages. I have also been blessed to have been instructed by brilliant scholars, especially Dr. Jessica Winegar, Dr. Naomi Schiller, and Dr. Lewis Gordon, whose rigor pushed me to read closer and grapple with texts in unprecedented ways. I could not have gotten through the later stages of this work without the support of Lorraine Savage and the Writing Center, and Dr. John DiMino and the community of writers he brought together at Tuttleman. vi I am immensely grateful to Dr. John L. Jackson Jr. and Dr. Deborah A. Thomas at the University of Pennsylvania, for the kind of generosity, guidance and engagement that sets and changes intellectual trajectories. You model the best of what can be done in the academy and your impact on my development as a scholar cannot be overstated. As towering lighthouses in the field you also attract and shape a number of people I have been lucky to spend time reading and thinking with, including Wifredo Gomez, Ryan Jobson, Keon McGuire, Khwezi Mkhize and some of the best conference panelists to anthro with: Diana Burnett, Krystal Smalls and Savannah Shange. Your care and brilliance have sustained me in important and immeasurable ways. Sincerest thanks are due to Institute of Museum and Library Sciences and to Leslie Guy, for creating a pipeline for junior scholars into museum work. Your vision, expertise and encouragement made it possible for nerds like me, J. Finley, Nicole Ivy and Jimmy Kirby to find the kind of institutional environment that could feel something like a home. To you and so many others who have worked at and with the African American Museum in Philadelphia, but especially Stephanie Cunningham, Dejáy B. Duckett, Gillian Golson, Ivan Henderson, Deborah Johnson, Jeannette Morton, Cassandra Murray, Safa Robinson, and Adrienne Whaley, it has been a joy and a privilege to learn from and work with you. To Noah Smalls, every conversation with you is a lesson in theory and practice, I’ve learned more from you than you know. James Claiborne, you are Black magic and I hope we never stop dreaming up projects together. Richard Watson, it has been a blessing to see up vii close why your perspective, work ethic and approach to art and life have made you beloved to so many. And to Dr. Helen Shannon, I remain in awe of your brilliance, your care for good museum practice and your ethical commitment to students and practitioners in the field. Rest in power, you are sincerely missed. Thank you to the organizers of the Berlin Roundtables at the WZB, who provided me with my first opportunity to think about the work of museums and tourism with a group of scholars working all over the world. It also put me in community with Sarah Conrad Gothie, Elena Shih, Karma Frierson, who have been amazing thinking partners and conference buddies ever since. I look forward to gesturing wildly with you in the spaces of overlap among current and future projects. I have also been professionally and personally enriched by scholars Juli Grigsby and Christina Knight, whose sharp intellect and critical engagement are satisfying and sustaining. Kelli Morgan, you are a miracle and it is so exciting to watch you mark your mark on these institutions. To my sister scholars and magical thinkers: Biany Perez, Corinne Castro, Diane Garbow, Laura Porterfield, Sahar Sadeghi , Jeana Morrison, Lacinda Benjamin, Shari Gilmore, Teri Tilman, Karissa Patberg and Sally Gould-Taylor. As women who infuse your work with care, hold me and each other up and, in so many cases, show me how to PhD, your support has sustained me in so many necessary ways. It has meant everything to me to have all this time swapping books, notes and edits, arguing theory, exchanging side-eyes across grad seminars, sharing food, drinks, tears, fears, and laughing with you. You are how I got over. Sylvea Hollis and Nicole viii Ivy, your insights and care in the late stage of this project have been a necessary affirmation, and I am grateful for them and so many more things. Thank you for being willing to talk through issues great and small, at all hours. Nicole, your perspective as a scholar of so many overlapping fields has been invaluable, and your loving critiques a useful push. Your heart is true, you’re a pal and a confidante. To my anthrowives Diane Garbow and Savannah Shange: That I could spend years reading, writing, editing, conferencing, dancing, crying and finishing with you and your beautiful minds is an act of divination. Thank you for being better thinking partners than I ever knew enough to wish for. Diane, I am lucky to have had you as a blueprint and teammate since day one. Following your steps kept me from getting lost more times than I can count. Savannah, bless you for helping me see how to cut a new path every time I ran out of track. I am more grateful for your friendship, intellect, feedback, and love than I have words to express. All my love to Lauren Webb and Griffin Webb: to the question of when I would be done, we finally have an answer. And to mom, who always encourages me to do the things I need to do, no matter how confusing the reason, the challenging the task or how long the flight is. And to Marco Hill, whose support and love is deep and unwavering, I thank you for being my partner on this long, arduous journey. We made it! ix TABLE OF CONTENTS Page ABSTRACT…………………………………………………………………………………………………………………….iii DEDICATION…………………………………………………………………………………………………………………..v ACKNOWLEDGMENTS……………………………………………………………………………………………………vi LIST OF FIGURES OR ILLUSTRATIONS…………..………………………………………………………………...x CHAPTER 1. INTRODUCTION: MATERIALIZING BLACKNESS………………………………………………………….1 2. COLLECTING AND ARCHIVING BLACKNESS: AN EARLY HISTORY OF BLACK ARCHIVAL PRODUCTION……………………………………………………………………………………………………………….30 3. WHERE AND HOW TO SEE: A HISTORY OF EXHIBITING BLACKNESS………………………...46 4. PUBLIC MEMORIES, INSTITUTIONAL NARRATIVES AND THE CRAFTING OF A HERITAGE INSTITUTION………………………………………………………………………………………………76 5. SEEING LIKE A FUNDER: HOW ARTS AND CULTLURE FINANCING PRODUCES THE MUSEUM…………………………………………………………………………………………………………………….113 6.
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