The Metropolitan Museum of Art Bulletin V 27 No 5 January 1969

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ON THE EIGHTEENTH of this month The
Metropolitan
Museum of Art will
open
an
exhibition that has
nothing
to do with art in the narrow sense - but
everything
to do
with this
Museum,
its
evolving
role and
purpose,
what we
hope
is its
emerging position
as a
positive,
relevant,
and
regenerative
force in modern
society.
The title of the exhi-
bition is "Harlem on
My
Mind": The Cultural
Capital of Black
America,
I9oo-I968.
It is an exhibition that
attempts, through photographs,
films, television,
documen-
tary
recordings
of sounds and
voices, music,
and
memorabilia,
to
convey
that most
difficult of
things,
a cultural and historical
experience,
a total environment
- one
par-
ticular
world,
in
fact,
which has been known
intimately only
to the Black
people
of
New York
City
- Harlem. It doesn't
interpret
or
explain.
It sticks to the
facts,
Harlem's
historical events over the
past sixty-eight years,
its
literature, theater,
politics,
music,
art,
and business. Three Blacks and three whites conceived the show and
put
it
on,
in
thirteen of the
Metropolitan's Special
Exhibition Galleries. The
Henry
Luce Founda-
tion, Inc.,
acting
with
imagination
and
concern,
generously
underwrote the cost of
the exhibition.
Why
The
Metropolitan
Museum of Art? The
question
was asked of us
right
from the
beginning, posed
almost as a
challenge,
and it
will,
I am
sure,
continue to be asked.
Let me
say
first that our
Charter,
which is almost a hundred
years
old,
enjoined
the
Museum to
apply
itself
vigorously
not
only
to the
study
of the fine arts but to relate
them to
"practical
life" as well. "Practical life" in this
day
can mean
nothing
less than
involvement,
an active and
thoughtful participation
in the events of our time. For too
long
museums have drifted
passively away
from the center of
things,
out to the
periph-
ery
where
they play
an often brilliant but
usually tangential
role in the
multiple
lives
of the nation.
Contents
The Black Artist in
America: A
Symposium
ROMARE BEARDEN
SAM
GILLIAM, JR.
RICHARD HUNT
JACOB
LAWRENCE
TOM LLOYD
WILLIAM WILLIAMS
HALE WOODRUFF
245
The
Metropolitan
Museum
of Art: Cultural Power
in a Time of Crisis
BARRY N. SCHWARTZ 262
Poor
People's
Plan
PRISCILLA TUCKER
265
Salvation Art
FRANK CONROY
270
An Interview
JANE SCHWARZ, WITH
WILSON BURCH
273
Harlem,
A Cultural
History:
Selected
Bibliography
JEAN
BLACKWELL
HUTSON 280
The
Metropolitan
Museum of Art Bulletin
JANUARY I969
Published
monthly
from October to
June
and
quarterly
from
July
to
September. Copyright ?i969
by
The
Metropolitan
Museum of
Art,
Fifth Avenue and 82nd
Street,
New
York,
N. Y. I0028. Second
class
postage paid
at New
York,
N. Y.
Subscriptions $5.00
a
year. Single copies fifty
cents. Sent free to
Museum members. Four weeks' notice
required
for
change
of address. Back issues available on micro-
film from
University Microfilms,
313
N. First
Street,
Ann
Arbor,
Michigan.
Volumes I-xxxvII
(1905-
1942)
available as a clothbound
reprint
set or as individual
yearly
volumes from Arno
Press, 330
Madison
Avenue,
New
York, N. Y.
10oI7,
or from the
Museum,
Box
255,
Gracie
Station,
New
York,
N. Y. I0028. Editor of Publications: Leon Wilson. Editor-in-chief of the Bulletin: Katharine H. B.
Stoddert;
Editors of the Bulletin:
Joan
K.
Foley
and Anne
Preuss;
Designer:
Peter
Oldenburg.
Assis-
tants on this issue: Susan
Copello
and Ashton Hawkins.
Photographs: cover, frontispiece, p. 242, by
George Frye; p. 24r, by Reginald
McGhee
243
VOLUME
XXVII,
NUMBER
5
Speaking
for this
Museum,
we have
by
and
large
been
unresponsive
to social and
political
events.
Perhaps, given
our own
struggle
to
grow,
it couldn't have been other-
wise. But to continue to do so would be
irresponsible.
"Harlem on
My
Mind"
signals
the
turning point.
The
exhibition,
frankly,
is an
experimental
one,
the first
major step
toward rethink-
ing
and
expanding
our
concepts
of what exhibitions should do. We want to
explore
the
essential nature of the
Museum,
of works of
art,
and of our
changing relationship
to
the
visiting public,
to
scholars,
to the educational
process,
and to the urban environ-
ment in which we find ourselves.
The
Metropolitan
Museum's role has
always
been to make
people
see.
Today
we
must ask
them,
and
ourselves,
to look as well: to look
searchingly
at
things
that have
to be
faced,
such as our communities and our environment. If we
pretend
to
any
matu-
rity
as an institution we have to
begin directing
our resources toward
larger
humanist
ends.
At one level the Museum's collections are
individual,
fragmented
statements -
great
works of art isolated from their time and
place.
At a much more difficult level
they
interrelate;
it would not be far-fetched to
suggest
that what the
complex
DNA struc-
ture is to the
mystery
and secret of
life,
works of art are to the secret of the human
condition,
human
relations,
and what we
really
mean
by
man's cultural
heritage
and
history.
"Harlem on
My
Mind" is this Museum's
attempt
to
plumb
the secret of
Harlem,
of its
unique
achievements and contributions to American
life,
its
energy, genius,
and
spirit.
I don't know of
any
institution better
qualified, by
reason of its basic humanist
orientation,
its acute and
intelligent sensitivity
for a
disparate range
of cultural
expres-
sions,
better
qualified
than this one to
attempt
such an exhibition.
Our
hope
for the exhibition is that it communicate a sense of
place
and a
way
of
living.
That it
engender
an
appreciation
of the
tragedies
and
triumphs
of Black Harlem.
That it make us realize that we must
begin
to look to the
great Negro past
for our
understanding
of the American
experience,
and look to it as well for whatever common
hope
we have for the future.
THOMAS P. F.
HOVING,
Director
244
T h e B l a c k A r t i s t i n A m e r i c a :
A
Sym pos i um
ROMA RE
B EA RDEN,
Mode r a t or
SA M
GILLIA M, JR.
RICHA RD HUNT
JA COB LA WRENCE
T OM LLOYD
WILLIA M WILLIA MS
HA LE WOODRUFF
MR. B EA RDEN: We a r e h e r e t odi s c us s s om e of t h e
pr ob-
l e m s of t h e B l a c k a r t i s t i n A m e r i c a . I t h i n k on e of t h e
m os t
pe r pl e xi n g
i s t h e
pr obl e m
of
m a k i n g
a
l i vi n g.
Dur -
i n g
t h e l a s t t woor t h r e e
ye a r s
t h i s
pr obl e m
h a s be e n m e t
t o s om e
de gr e e by
m or e
t e a c h i n g jobs be i n g
m a de a va i l -
a bl e t o
us ,
but i t 's s t i l l h a r d for t h e B l a c k a r t i s t t o
s uppor t
h i m s e l f. I'd l i k e t o h e a r s om e of t h e m e m be r s of t h e
pa n e l r e s pon d
t o t h i s
que s t i on .
MR. LLOYD:
Ma n y
B l a c k a r t i s t s c a n 't
s uppor t
t h e m -
s e l ve s
t h r ough
t h e i r a r t - t h e r e
m a y
be on e or
t wo,
but
i t 's m os t di ffi c ul t . Fi r s t of a l l be c a us e t h e B l a c k a r t i s t 's
ve r y
e xi s t e n c e h a s be e n de n i e d s o
l on g
t h a t
pe opl e
don 't
k n owof h i m - e ve n i n t h e B l a c k
c om m un i t y.
T h e r e for e
h i s
s t r uggl e
t o r e a c h t h e
t op
h a s be e n a
gr e a t on e ,
a n d I
e n vy
t h r e e
ge n t l e m e n
wh o a r e
s i t t i n g
h e r e -Mr . B e a r -
de n ,
Mr .
La wr e n c e ,
Mr . Woodr uff-wh oh a ve m a de i t .
I k n owwh a t k i n d of
s t r uggl e a n y
B l a c k a r t i s t wh o's
m a de i t h a s
gon e t h r ough ,
a n d t h e r e for e I be a r a
gr e a t
de a l of
r e s pe c t
for
youge n t l e m e n .
MR. B EA RDEN:
We l l , T om ,
woul d
you
l i k e t o
e xpl or e
t h a t a l i t t l e fur t h e r ? You s a i d t h a t t h e B l a c k a r t i s t i s
un k n own i n t h e B l a c k
c om m un i t y.
Wh a t c oul d be don e
t o h a ve h i m be t t e r k n own ? Wi t h i n h i s own
c om m un i t y
a n d wi t h i n t h e m a i n s t r e a m of A m e r i c a n a r t ?
MR. LLOYD:
Fi r s t ,
I t h i n k h e h a s t o be
a c c e pt e d
i n t h e
ga l l e r i e s ;
t h e m us e um s h a ve t o
r e c ogn i ze
t h a t h e h a s
s om e t h i n g
t o c on t r i but e t oh i s own
c ul t ur e ,
t o t h e B l a c k
c om m un i t i e s ,
a n d I t h i n k
t h e y
h a ve fa i l e d
m i s e r a bl y
t o
do t h i s .
Sur e ,
wi t h i n t h e l a s t
c oupl e
of
ye a r s
I've h e a r d
a bout e xh i bi t i on s de di c a t e d t o s h owt h e
a c c om pl i s h m e n t
of t h e B l a c k a r t i s t a n d I've be e n i n
s om e ,
but wh a t h a s
h a ppe n e d
for t h e t wo h un dr e d
ye a r s
be for e t h a t ? Wh a t
h a s
h a ppe n e d
wi t h s om e t h r e e
h un dr e d,
four h un dr e d
a r t
ga l l e r i e s
i n
gr e a t e r
Ne w Yor k ? Wh a t h a s
h a ppe n e d
wi t h t h e m us e um s ?
MR. B EA RDEN:
Ma ybe
Ha l e Woodr uff c a n
r e pl y
t o
t h e s e
que s t i on s ,
be c a us e h e h a s a
gr e a t k n owl e dge
of a r t
h i s t or y
a n d h a s l i ve d
t h r ough
s om e of t h e s e
pr obl e m s .
MR. WOODRUFF:
We l l ,
I
a gr e e
t h a t i t 's
ve r y t ough
for
t h e B l a c k a r t i s t n ot
on l y
t om a k e a
l i vi n g
but
e ve n , fi r s t ,
t o m a k e
a n yt h i n g
out of h i s a r t . I t h i n k t h i s i s a l s ot r ue
of t h e wh i t e a r t i s t . I
s us pe c t
t h e e c on om i c
pr obl e m
va r i e s
for a l l
a r t i s t s ,
a n d e a c h m us t c om e t o
gr i ps
wi t h
i t ,
s om e -
h ow,
i n h i s own
wa y.
Of c our s e t h e i de a l s ol ut i on woul d
be t h e
on goi n g
s a l e of h i s a r t
pr oduc t .
T h i s
oppor t un i t y
h a s c om e t o a fe w a r t i s t s a n d wi l l doubt l e s s c om e t o
ot h e r s , a l t h ough s l owl y,
i n t h e fut ur e .
Sc h ol a r s h i ps
a n d
gr a n t s
h a ve be e n a wa r de d t o a fe w B l a c k
a r t i s t s ,
but
s uc h
gr a n t s
a r e
us ua l l y
of s h or t dur a t i on a n d t h e r e for e
do n ot m e e t t h e
l on g-t e r m
n e e ds of a r t i s t s i n
ge n e r a l .
T h e
m a jor i t y
of a r t i s t s , B l a c k a n d
wh i t e ,
r e s or t t o t e a c h -
i n g
a s a m e a n s of
m e e t i n g
e c on om i c
n e e ds ,
wh i l e s om e
a r t i s t s
e n ga ge
i n ot h e r
t ype s
of
e m pl oym e n t .
Ge n e r a l l ys pe a k i n g,
t h e B l a c k a r t i s t h a s n ot h a d t h e
s a m e
oppor t un i t i e s
t o e xh i bi t i n t h e
bi g
n a t i on a l a n n ua l s
a n d bi e n n i a l s a s ot h e r a r t i s t s h a ve . A n um be r of
ga l l e r i e s
e xh i bi t t h e wor k s of a fe w
l e a di n g
B l a c k
a r t i s t s ,
but
by
a n d
l a r ge
t h e B l a c k a r t i s t h a s n ot c om e be for e a
ve r y
l a r ge publ i c t h r ough ga l l e r y
s h ows ,
wh i c h c oul d
ope n
up
t o h i m c h a n n e l s of
pur c h a s e
a n d
publ i c r e c ogn i t i on .
245
www.jstor.org
Suppor t
fr om t h e B l a c k
c om m un i t y
for t h e B l a c k a r t i s t
i s
gr a dua l l yde ve l opi n g,
but i t s e e m s t h a t t h e r e a l
job
s t i l l r e m a i n s i n t h e h a n ds of t h e a r t i n s t i t ut i on s -
ga l l e r -
i e s a n d m us e um s -t o
pr ovi de
t h e B l a c k a r t i s t wi t h t h a t
k i n d of
pr ofe s s i on a l
a n d
pr e s t i gi ous s uppor t
h e n e e ds for
h i s c on t i n ue d
de ve l opm e n t
on bot h t h e e c on om i c a n d
a e s t h e t i c l e ve l s .
MR. B EA RDEN: In
wr i t i n g
a bout t h i s on c e I s a i d t h a t
t h e be s t -k n own B l a c k a r t i s t s i n c e
He n r y
O. T a n n e r wa s
c e r t a i n l yJa c ob
La wr e n c e .
Ja c ob
h a s be e n on e of t h e a r t -
i s t s wh o h a s be e n i n s h ows a n d
r e pr e s e n t e d
us
t h r ough
t h e
ye a r s ,
a n d I'd l i k e
Ja k e
t o
gi ve
us h i s
t h ough t s
on
t h e e c on om i c
pr obl e m s
of t h e B l a c k a r t i s t .
MR. LA WRENCE: I
s ur e l ya gr e e
wi t h Mr .
Ll oyd
a n d
Mr .
Woodr uff,
but I t h i n k i t t a k e s on a n ot h e r di m e n s i on
t h a n
jus t
t h e e c on om i c . I t h i n k i t 's a
ps yc h ol ogi c a l
on e .
Mr .
Ll oyd
a s k e d wh a t c a n be don e , wh a t c a n
h e l p.
I
t h i n k on e
t h i n g
we c a n do i s
jus t
wh a t we 'r e
doi n g
n ow,
a n d m or e of i t . It 's
goi n g
t o t a k e e duc a t i on -
e duc a t i n g
t h e wh i t e
c om m un i t y
t o
r e s pe c t
a n d t o
r e c ogn i ze
t h e i n -
t e l l e c t ua l
c a pa c i t y
of B l a c k a r t i s t s . We 've be e n
a c c e pt e d
i n t h e t h e a t e r t o a
gr e a t e r de gr e e
t h a n we h a ve i n t h e
fi n e a r t s .
Wh y
i s t h i s s o? I t h i n k i t 's be c a us e i n t h i s a r e a
we a r e
r e c ogn i ze d
t o h a ve a n a t ur a l
a bi l i t y.
B ut
s t i l l ,
t h e r e 's a
ps yc h ol ogi c a l pr obl e m .
You t a k e a m a n l i k e
B i l l
Robi n s on ,
wh on e ve r a t t a i n s t h e s a m e k i n d of
r e c og-
n i t i on a s a Ge n e
Ke l l y. T h e y s a y
we 'r e
s uppos e d
t o be
good
c ook s ,
but we 've n e ve r be e n m a de c h e fs i n t h e
Wa l dor f-A s t or i a ,
we 've n e ve r be e n a s k e d t o
gi ve c ook i n g
l e s s on s on t e l e vi s i on .
Wh y?
B e c a us e t h i s c a l l s for a c e r t a i n
r e c ogn i t i on
on t h e
pa r t
of t h e wh i t e
c om m un i t y
t h a t
you
h a ve a n i n t e l l e c t ua l
c a pa c i t y
t h a t e i t h e r
t h e y
don 't wa n t
t o
r e c ogn i ze
or a r e s obr a i n wa s h e d t h a t
t h e y
c a n 't
a c c e pt .
On t h e ot h e r
h a n d,
n on e of us wa n t s t o be s e l e c t e d a s
"t h e on e a n d
on l y"
or "on e of t h e fe w." Mr . B e a r de n
a n d Mr . Woodr uff a n d I h a ve be e n
pa r t i c i pa t i n g
i n s h ows
for a n um be r of
ye a r s ,
a n d t h e r e s t of
you
h a ve c om e
a l on g
- I've s e e n
your
n a m e s . B ut n on e of us
a ppr e c i a t e s
t h e i de a of "We 'l l
a c c e pt you
a n d t h i s i s i t ." It 's
goi n g
t o t a k e
jus t
wh a t we 'r e
doi n g
n owt o e duc a t e t h e wh i t e
c om m un i t y.
I t h i n k
t h e y
m us t h a ve a
ps yc h ol ogi c a l
bl oc k
be c a us e
t h e y
r e fus e t o s e e a n d r e fus e t o
r e c ogn i ze
wh a t
we c a n do. T h e m e r e fa c t t h a t we 'r e
h e r e ,
h a vi n g
t h i s
di s c us s i on ,
i n di c a t e s t h i s . We 'r e
a l wa ys
i n
Ne gr os h ows ,
n ot
jus t
s h ows . I don 't k n owof
a n y
ot h e r e t h n i c
gr oup
t h a t h a s be e n
gi ve n
s o m uc h a t t e n t i on but
ul t i m a t e l y
for got t e n .
You t a k e a m a n l i k e Hor a c e
Pi ppi n ,
wh oI'm
s ur e wa s a
gr e a t e r "pr i m i t i ve "
t h a n Gr a n dm a Mos e s . B ut
c om pa r e
t h e a m oun t of
r e c ogn i t i on
t h e t woh a ve r e c e i ve d.
MR. WILLIA MS: It s e e m s t h a t on e of t h e
un de r l yi n g
t h i n gs
we 'r e
t a l k i n g
a bout i s t h a t
ba s i c a l l y
we c om e fr om
a n on vi s ua l c ul t ur e or
pe opl e .
T h e r e h a ve n 't be e n t h a t
m a n y
vi s ua l
a r t s -pa i n t i n gs , s c ul pt ur e -e xpos e d
t o t h e
B l a c k
c om m un i t y
i t s e l f. I t h i n k t h a t on e of t h e m e c h a n -
i s m s t h a t
h e l ps
a
youn g pe r s on
de c i de t o be a n a r t i s t i s
wh a t r e s our c e s t h e r e a r e for h i m t o
go
t o. On e of t h e
t h i n gs
I'm i n t e r e s t e d
i n ,
on e of t h e
n e c e s s i t i e s ,
i s t o
pr o-
vi de fa c i l i t i e s . Pr ovi de a s i t ua t i on wh e r e t h e s e
youn g
pe opl e
c a n c om e a n d be
h e l pe d
i n a c on s t r uc t i ve
m a n n e r ,
n ot
jus t
i n t h e us ua l
s upe r fi c i a l
a r t -s c h ool m e t h ods .
Ge t t i n g
ba c k t o
s h ows ,
on e of t h e
t h i n gs
t h a t 's
h a ppe n -
i n g
i s t h a t
e ve r y
s h owt h a t c on c e r n s B l a c k a r t i s t s i s
r e a l l y
a
s oc i ol ogi c a l
s h ow. T h e "Ha r l e m on
My
Mi n d" s h owi s
a
poi n t i n g e xa m pl e
of t ot a l
r e je c t i on
on t h e
pa r t
of t h e
e s t a bl i s h m e n t ,
of
s a yi n g
"We l l ,
you'r e r e a l l y
n ot
doi n g
a r t ,"
or of n ot
de a l i n g
wi t h t h e a r t i s t s t h a t
m a y
e xi s t or
do e xi s t i n Ha r l e m . T h e s e s h ows de a l wi t h t h e
s oc i ol og-
i c a l
a s pe c t s
of a
c om m un i t y,
a h i s t or i c a l
t h i n g.
I t h i n k
t h e n a t ur e of t h i s
pa n e l
i s
jus t
t h a t
a ga i n
- a n ot h e r s oc i o-
l ogi c a l t h i n g,
i n s t e a d of
de a l i n g
wi t h
pr e s s i n g
i s s ue s . T h e
que s t i on
i s "You'r e a B l a c k
a r t i s t ;
wh a t a r e
you doi n g,
wh a t do
you
wa n t t o
do,
wh e r e do
you
wa n t t o
go?"
i n s t e a d of
s a yi n g
"Youa r e i n
i t ,
you'r e
a n a r t i s t wh oh a s
be e n
s uppr e s s e d,
h owc a n we
h e l pyou?"
I'm s om e wh a t
i r r i t a t e d
by
a n d s om e wh a t
oppos e d
t o t h e n a t ur e of t h i s
pa n e l , e s pe c i a l l y
wh e n
you
a t t a c h t h e "B l a c k a r t i s t "
t h i n g
t o
i t ,
be c a us e I t h i n k we 'r e
pe r pe t ua t i n g
t h e i de a s
t h a t we 'r e
t r yi n g
t o
ge t a wa y
fr om . T h e r e a r e t wodi ffe r -
e n t
que s t i on s
a bout B l a c k
i de n t i t y.
B l a c k m e n a n d B l a c k
a r t i s t s -t h e y'r e
di ffe r e n t
que s t i on s
a n d s om e h ow
t h e y
s e e m t o be t h r own
t oge t h e r
a s on e t h a t c a n be a n s we r e d
wi t h s om e
s i m pl e
s t a t e m e n t . T h e r e a r e a s
m a n y
a n s we r s
t o t h a t
que s t i on
a s t h e r e a r e
pe opl e s i t t i n g
h e r e .
MR. B EA RDEN:
B i l l ,
we 'r e
goi n g
t odi s c us s s om e of t h e s e
que s t i on s
of
i de n t i t y
l a t e r ,
s o a t t h i s
poi n t
I'd l i k e
you
t o
de ve l op
s om e of t h e
pr ogr a m s you
h a ve i n m i n d for
t h e
c om m un i t y
a n d,
t o us e a n ol d
c l i c h e ,
for t h e e c o-
n om i c be t t e r m e n t of t h e a r t i s t .
MR. WILLIA MS: On e of t h e
t h i n gs
t h a t we 've
t h ough t
a n d t a l k e d a bout wa s a n a r t i s t -i n -r e s i de n c e
pr ogr a m .
T h e
n a t ur e of t h i s
pr ogr a m
woul d be t h a t we a s k a n a r t i s t or
gr oup
of
a r t i s t s ,
a s
pr ofe s s i on a l pe opl e ,
t o s e r ve a s a r t i s t s
i n r e s i de n c e i n a
pa r t i c ul a r c om m un i t y. T h e y
woul d be
t ot a l l y s uppor t e d;
t h a t
i s ,
t h e i r s t udi o bi l l s a n d
l i vi n g
e xpe n s e s
woul d be
pa i d.
We 'r e n ot
t a l k i n g
a bout t h e
us ua l
gr a n t
l e ve l of t woor t h r e e t h ous a n d
dol l a r s ;
we 'r e
t a l k i n g
a bout t e n or fi ft e e n t h ous a n d dol l a r s . Wh a t
t h e y
woul d be a s k e d t odoi n r e t ur n woul d be t o
pr oduc e
t h e i r
own
wor k ,
pr oduc e
i t on a
s e r i ous ,
a ggr e s s i ve l e ve l ,
a n d
a l s ot o a c t a s m a l e
i m a ge s , s ym bol s
of a t t a i n m e n t for t h e
246
c om m un i t y.
A n
a s pi r i n g
a r t i s t c oul d c om e t ot h e m -
t h e y
c oul d be a l m os t
a ppr e n t i c e s -a n d
c oul d be
s uppor t e d,
t h a t
i s ,
pr ovi de d
wi t h a s t udi o a n d m a t e r i a l s or wi t h
m i n i m um
l i vi n g e xpe n s e s .
T h i s i s k i n d of a n i de a l i s t i c
pr opos a l ,
but I'm s ur e i f we c a n h a ve t h i s
pa n e l ,
i f we
c a n h a ve
fi ft y
B l a c k
s h ows ,
we c a n h a ve t h i s i de a l i s t i c
pr opos a l .
MR. HUNT : T h e r e a r e
t h i n gs
l i k e t h a t i n
ope r a t i on
i n
ot h e r
c i t i e s ,
i n St .
Loui s ,
for
e xa m pl e . T h e y
h a ve a
gr a n t
fr om t h e Roc k e fe l l e r Foun da t i on a n d fr om t h e Da n for t h
Foun da t i on t o s e t
up
t h i s k i n d of a r t i s t -i n -r e s i de n c e
pr o-
gr a m ,
wi t h
a ppr e n t i c e s
a n d s t udi o
s pa c e ,
a n d
s om e t h i n g
l i k e a
t e n -t h ous a n d-dol l a r -a -ye a r s t i pe n d.
I don 't s e e
wh y
i t c oul dn 't be don e i n Ne w
Yor k ,
be c a us e t h e r e a r e
e ve n m or e r e s our c e s
h e r e ,
c e r t a i n l y
i n t e r m s of a r t i s t s
a va i l a bl e . T h a t s or t of
t h i n g
h a s be e n
de ve l ope d
i n Il l i -
n oi s , t oo;
I've be e n i n vol ve d wi t h t h e Il l i n oi s A r t s Coun -
c i l .
T h e y've
s t a r t e d a n a r t i s t -i n -r e s i de n c e
pr ogr a m
t h a t
doe s n 't de a l
s pe c i fi c a l l y
wi t h
Ne gr o
c om m un i t i e s ,
but
wi t h a n um be r of
out l yi n g
c om m un i t i e s t h a t for on e
r e a s on or a n ot h e r don 't h a ve a c c e s s t o t h i s c ul t ur a l -
e n r i c h m e n t
t ype
of
pr ogr a m .
MR. GILLIA M: A s i m i l a r k i n d of a r t i s t -i n -r e s i de n c e
pr o-
gr a m
i s
goi n g
on i n
Wa s h i n gt on ,
i n wh i c h I'm a
pa r t i c i -
pa n t .
T h e
s t i pe n d
i s fi ve t h ous a n d dol l a r s a n d s t udi ofa -
c i l i t i e s a r e
pr ovi de d.
It 's n ot
s pe c i fi c a l l y
di r e c t e d t owa r d
t h e B l a c k
c om m un i t y,
but t h e
m a jor i t y
of
Wa s h i n gt on 's
popul a t i on
i s B l a c k .
Si n c e I'm fr om
Wa s h i n gt on m y e xpe r i e n c e s
h a ve be e n
t ot a l l y
di ffe r e n t ,
a n d t h a t l e a ds m e t o r a i s e a n ot h e r
que s -
t i on i n r e l a t i on t o t h e
pr obl e m
of
e c on om i c s ,
a n d t h i s i s
a bout t h e e xt e n t t h a t t h e B l a c k a r t i s t h a s be e n
r e c ogn i ze d
by
t h e B l a c k
c om m un i t y.
T h e a n s we r
m i gh t
be wh a t
Mr . Wi l l i a m s h a s
s ugge s t e d,
a m a t t e r of
s oc i ol ogy
or a
m a t t e r of e c on om i c s on a
gr e a t e r
s c a l e . We 've be e n
pr e -
ve n t e d fr om
be i n g vi s ua l l y
m i n de d be c a us e we 've h a d
t o be s o
i n dus t r i a l l y
m i n de d. T h i s e c on om i c fa c t or woul d
pr oba bl ypr e ve n t
s om e on e l i k e
m ys e l f
fr om a s out h e r n
c om m un i t y
fr om
c om i n g
t o s c h ool i n Ne w
Yor k ,
a s
op-
pos e d
t o
s t a yi n g
i n
m y
own
c om m un i t y
a n d
goi n g
t o
s c h ool . Howa r e
yougoi n g
t o t h i n k a bout
t h i n gs
l i k e a r t
wh e n i t 's a l l
you
c a n do t o
ge t a n y
k i n d of
job?
T h e s e
k i n ds of
t h i n gs
h a ve be e n
pr e va l e n t
i s s ue s .
MR. B EA RDEN:
Ha l e ,
pe r h a ps you
c oul d s um
up
s om e
of t h e s e e c on om i c
pr obl e m s
i n r e l a t i on t o t h e fut ur e . Do
you
t h i n k a
youn g
m a n l i k e Wi l l i a m s wi l l h a ve a be t t e r
pr os pe c t
of
m a k i n g
a
l i vi n g
a s a n a r t i s t t h a n
you
h a d?
MR. WOODRUFF:
Fi r s t ,
I'd l i k e t o
s a y
t h a t I don 't
a gr e e
e n t i r e l y
wi t h Wi l l i a m s a n d Gi l l i a m on t h e n ot i on t h a t we
a r e n ot
vi s ua l l y
m i n de d. I'm ol de r t h a n
a n ybody
h e r e
a n d I've l i ve d
l on g e n ough
t o s e e s c or e s of B l a c k
a r t i s t s ,
wh on e ve r
r e a l l y
m a de
i t ,
c om e a n d
go. T h e y
di dn 't m a k e
i t for
m a n y
of t h e s e e c on om i c
r e a s on s ,
but
ba s i c a l l y
I
t h i n k
t h e y
di dn 't m a k e i t be c a us e t h e r e wa s n o k i n d of
wor l d for
t h e m ,
e i t h e r i n t h e B l a c k
c om m un i t y
or t h e
wh i t e
c om m un i t y.
I don 't wa n t t o s oun d
c h a uvi n i s t i c ,
but I t h i n k
e ve r y
B l a c k m a n h a s c e r t a i n s e n s i t i vi t i e s a n d
s e n s i bi l i t i e s t h a t c om e out i n va r i ous a r t for m s . T h e fa c t
t h a t m us i c i s on e of our
s t r e n gt h s pr oba bl y
i s n oa c c i de n t .
T h e fa c t t h a t we don 't h a ve a vi s ua l
h i s t or y
or a
h i s t or y
of
c r e a t i n g
vi s ua l wor k s i n t h i s
c oun t r y
i s a fa c t of c i r -
c um s t a n c e ,
a n d doe s n 't m e a n t h a t t h e vi s ua l wor l d wa s
n e ve r
ope n
t o us or t h a t we n e ve r
ope n e d
our
e ye s
t o i t .
I t h i n k i t 's
c h i e fl y
e c on om i c . In t h e t we n t i e s a n d t h i r t i e s
t h e r e we r e
m a n y
B l a c k a r t i s t s . Re a d s om e book s a bout
i t :
you'l l
s e e n a m e a ft e r n a m e of a r t i s t s wh oh a ve s i n c e
di s a ppe a r e d
fr om t h e s c e n e .
T h e ys i m pl y
c oul d n ot m a k e
i t i n t h e s o-c a l l e d fi n e
a r t s ,
but
m a n y
of t h e s e fe l l ows
got
i n t o t h e n on -fi n e -a r t s
a r e a s ,
l i k e
i l l us t r a t i on ,
de s i gn ,
t e a c h i n g.
You
r a r e l y,
i f
e ve r ,
h e a r a bout
t h e m ,
but
t h e y
a r e t h e r e . Wh a t we 'r e
di s c us s i n g
n owi s t h e s o-c a l l e d fi n e
a r t s a r e a . Wh e n
you
a s k m e wh a t 's
goi n g
t o c om e -we
don 't k n ow. B ut h e r e i s a
pr a c t i c a l poi n t :
I be l i e ve t h a t
i n t h e vi s ua l a r t s t h e r e 's
s om e t h i n g
m or e t h a n
jus t pa i n t -
i n g
for Ma di s on A ve n ue or a
ga l l e r y
s h owor a m us e um
s h ow. I k n owof
m a n yyoun g
B l a c k a r t i s t s wh oa r e s uc -
c e s s ful
de s i gn e r s
- T V
de s i gn e r s ,
i n dus t r i a l
de s i gn e r s ,
a n d
s oon . T h i s i s a
ve r y
r e a l a n d
pr a c t i c a l
wor l d.
T h e A m e r i c a n h a s a n ot i on t h a t fi n e a r t s a r e t h e
gr e a t -
e s t
t h i n g
t h a t e ve r
e xi s t e d,
a n d h e
m a y ve r y
we l l be
r i gh t .
I don 't k n owt h a t
you've got
t o
wor r y
t oom uc h
a bout t h a t
youn gs t e r
wh o's
goi n g
t obe a n
a r t i s t ,
wh e t h e r
h e 's i n t h e
gh e t t o
or i n Nob Hi l l or wh e r e ve r . Ci r c um -
s t a n c e s a r e
goi n g
t ol e a d h i m i n t o
i t ,
a n d I t h i n k
jus t
a bout
e ve r y
m a n a t t h i s t a bl e h a s c om e i n t o a r t i n t h a t
wa y.
T h e e s t a bl i s h m e n t of c e n t e r s i n t h e
gh e t t o
a n d
e l s e wh e r e ,
a va i l a bl e t oa l l
pe opl e
a s we l l a s t h e
pe opl e
wh ol i ve
t h e r e ,
wi l l be a
wa y
of n ot
on l y di s c ove r i n g
t a l e n t but a l s oof
e n c our a gi n g
i t a n d
h e l pi n g
i t t o
de ve l op.
B ut I'm
ve r y
wa r y
of
ur gi n g
t h e s e four t e e n - a n d
fi ft e e n -ye a r -ol ds
t o
go
i n t oa r t a s a
pr ofe s s i on .
Le t t h e m m a k e
up
t h e i r own
m i n ds . I t h i n k t h e wh ol e wor l d of a r t s h oul d be
ope n
t o t h e m a n d m a de a va i l a bl e for t h e m t o be c om e i n -
vol ve d,
e i t h e r a s a c t i ve
pa r t i c i pa n t s
or
a ppr e c i a t or -c on -
s um e r s of a r t .
MR. LLOYD: B ut i s t h a t wor l d
ope n
t o t h e m ?
MR. WOODRUFF: In t e r m s of wh a t i t h a s be e n a n d i s
n owfor a l ot of
pe opl e ,
I don 't k n ow. It 's h a r d
e n ough
for t h e be s t t o m a k e i t i n t h e fi n e a r t s a r e a . I s e e t h e
fut ur e a s
be i n g
on e wh e r e t h e r e a r e c on duc i ve a t m os -
247
ph e r e s ,
fa c i l i t i e s ,
a n d
pe opl e
t o wor k wi t h t h e s e
youn g-
s t e r s . T h e r e
m i gh t
be n o
t e a c h i n g
i n t h e s e n s e of
h a vi n g
c l a s s e s ,
but
s i m pl ye ve r yfa c i l i t yi m a gi n a bl e ,
a n d
gui de s
a n d t e a c h e r s t o wor k wi t h t h e m . If a
youn gs t e r
wa n t s t o
t h r ows om e
c l a y
a r oun d,
l e t h i m do i t : i f h e
ge t s
s i c k of
t h a t a n d wa n t s t o c a r ve s om e
wood,
t h a t 's fi n e . T h i s i s
t h e k i n d of or i e n t a t i on I t h i n k woul d be
h e l pful
i n de -
ve l opi n g
i n t e r e s t ,
a c t i vi t y,
a n d
pa r t i c i pa t i on .
MR. LLOYD: I t h i n k t h e r e n e e ds t o be a
gi ga n t i c
e ffor t
t o
br i n g
a r t t o
youn g
B l a c k k i ds i n a n e n or m ous
pr oje c t .
I don 't t h i n k
t h e y
h a ve
a n ywh e r e
n e a r t h e s a m e
oppor -
t un i t y
a s
a n yon e
e l s e . I t h i n k
youn g
wh i t e k i ds a r e e x-
pos e d
t o a r t a t a
ve r y e a r l ya ge ;
t h e i r m ot h e r s
go
t o
m us e um s a n d
dr a g
t h e k i ds
a l on g
a n d
t h e yge t
a l ook a t
a r t wh e n
t h e y'r e
t h r e e or four . T h i s doe s n 't
h a ppe n
wi t h
B l a c k k i ds .
MR. WOODRUFF: Wh e n I s a i d t h e vi s ua l wor l d wa s
ope n
t o B l a c k
k i ds ,
I m e a n t
t h i n gs
t h a t
e ve r y
m a n
s e e s ,
e ve n i f i t 's a n ol d ba c k fe n c e . I
c e r t a i n l ya gr e e
t h a t
t h e y
n e e d a r t
br ough t
t o t h e m .
MR. LLOYD: T h i s i s on e of
m y pe t t h i n gs :
i t 's
ve r y
i m -
por t a n t
t o
br i n g
a r t t o B l a c k
pe opl e . Ri gh t
n ow,
we 'r e
n ot
goi n g
t om us e um s a n d t oa r t
ga l l e r i e s .
I've be e n
goi n g
t o t h e m for
s om e t h i n g
l i k e
t we n t y-fi ve ye a r s
a n d I c oul d
c oun t t h e B l a c k
pe opl e
I've s e e n . We h a ve t o
br i n g
a r t
t o t h e B l a c k c om m un i t i e s . We s h oul d h a ve
t h i n gs
l i k e
t h e "wa l l of
pr i de ."
We h a ve t o
be a ut i fy
t h e B l a c k c om -
m un i t i e s ,
wi t h t r e e s or
wh a t e ve r ;
we h a ve t oh a ve m on u-
m e n t s t o B l a c k
h e r oe s ,
r i gh t
on Se ve n t h A ve n ue . It 's
i m por t a n t
for B l a c k
pe opl e
t o h a ve t h i s
i de n t i t y. T h e y
h a ve t o fe e l t h i s
pr i de .
It 's our
r e s pon s i bi l i t y
t o
br i n g
i t
t o t h e m . We c a n
be gi n byus i n g pos t e r s , byus i n g e xi s t i n g
bi l l boa r ds ,
a n d we h a ve t o
ge t
t h e
m on e y
t o do t h i s . A
gr oup
of B l a c k a r t i s t s s h oul d
ge t t oge t h e r
a n d do t h e s e
pos t e r s
a n d
put
t h e m
up
a n d l e t
pe opl e
s e e t h e m .
Pe r h a ps
a
pl a c e
l i k e t h e
Me t r opol i t a n
s h oul d fi n a n c e
s om e t h i n g
l i k e t h a t .
MR. GILLIA M:
Up
t o n ow our
m a jor
i n t e r e s t h a s n 't be e n
i n
pr om ot i n g c ul t ur e ,
i n
pr om ot i n g
a wa r e n e s s of B l a c k
a r t a n d a r t i s t s . We do h a ve t o
be gi n
t o m a k e t h e B l a c k
c om m un i t y
m or e
a wa r e ,
m or e
vi s ua l l y
or i e n t e d.
MR. B EA RDEN: It s e e m s t o m e t h a t a
bi g pr obl e m
c on -
fr on t s t h e B l a c k a r t i s t a ft e r h e de c i de s t obe c om e a
pr ofe s -
s i on a l a r t i s t . He 's
t we n t y-fi ve ,
or
t we n t y-s i x,
or
t we n t y-
s e ve n . He 's m a r r i e d. He h a s on e or t wo c h i l dr e n . It 's
di ffi c ul t
ge t t i n g
a foot h ol d i n t o t h e a r t
wor l d;
t r yi n g
t o
h a ve h i s wor k
e xpos e d; t r yi n g
t om a k e a
l i vi n g, pr oba bl y
by h a vi n g
a n ot h e r
job
-
t e a c h i n g
or
s om e t h i n g.
I'd l i k e
Mr .
Hun t ,
Mr .
Gi l l i a m ,
Mr .
Ll oyd,
a n d Mr . Wi l l i a m s
t o
be gi n
t h i s di s c us s i on on
pr ofe s s i on a l pr obl e m s t h e y
248
t h e m s e l ve s a r e
pr oba bl yde a l i n g
wi t h . How doe s t h e
youn g
B l a c k a r t i s t m a k e a
l i vi n g?
Wh a t a r e s om e of t h e
t h i n gs
t h a t a r e
wr on g?
Wh a t woul d
you
l i k e t o s e e don e ?
MR. LLOYD: T h e r e s h oul d be
m a n y
m or e
oppor t un i t i e s
ope n
t o t h e
youn g
B l a c k a r t i s t . It 's a
pe c ul i a r t h i n g:
I
t e a c h
pa i n t i n g
a n d
s c ul pt ur e
i n a
pr ogr a m
c a l l e d t h e
A dul t Cr e a t i ve A r t s
Wor k s h op, s pon s or e d by
t h e De -
pa r t m e n t
of Pa r k s : a c e r a m i c s c l a s s wa s i n t r oduc e d a n d
I we n t a r oun d
l ook i n g
for a
pot t e r ,
a B l a c k
pot t e r .
I
s e a r c h e d t h e wh ol e of Ne w Yor k a n d I foun d t h r e e .
T h e r e
m i gh t
be
m or e ,
but I
on l y
foun d t h r e e a n d
t h e y
we r e
a l r e a dye m pl oye d.
I
r e a l l y t h ough t
a bout t h a t .
He r e i n Ne w
Yor k ,
wi t h m i l l i on s of
pe opl e ,
h ow i s i t
t h a t t h e r e a r e
on l y
t wo or t h r e e B l a c k
pot t e r s ?
T h e r e 's
s om e t h i n g wr on g h e r e ;
s om e on e h a s
pe r pe t r a t e d
s om e
k i n d of e vi l on t h e B l a c k r a c e t h a t 's un be l i e va bl e .
MR. GILLIA M:
Wh y
i s t h e i s s ue
fi n di n g
a B l a c k
pot t e r
t o t e a c h a B l a c k c h i l d a s
oppos e d
t o
fi n di n g
a
pot t e r ?
MR. LLOYD:
Oh ,
I t h i n k t h a t 's
ve r y i m por t a n t .
We
we r e
t a l k i n g
a bout B l a c k a r t : I t h i n k t h e r e 's
goi n g
t o
be B l a c k
a r t ,
I t h i n k t h e r e 's
goi n g
t o be a
s e pa r a t e
B l a c k
c om m un i t y.
If t h e r e i s
s e pa r a t e
B l a c k a r t i t
m i gh t
be a
good t h i n g,
be c a us e wh a t 's
gon e
be for e h a s n 't be e n a
good t h i n g.
MR. WILLIA MS: How woul d t h i s B l a c k a r t be di ffe r e n t
fr om wh i t e a r t ?
MR. LLOYD:
We l l ,
i t woul d be di ffe r e n t i n a s m uc h a s
on e of our m a i n a i m s s h oul d be
r e l a t i n g
t o B l a c k
pe opl e .
B l a c k a r t i s t s s h oul d be
wor k i n g
i n B l a c k c om m un i t i e s .
MR. WILLIA MS: T h e
que s t i on
I'm
r e a l l ypos i n g
i s h ow
doe s on e m a k e a r t r e l e va n t t o i t s
c om m un i t y?
MR. LLOYD: I t h i n k t h e a r t i s t i s m or e t h a n
jus t
s om e -
on e wh o
pa i n t s
or s om e on e wh om a k e s
s c ul pt ur e .
I t h i n k
h e h a s a
c om pa c t ,
a
r e l a t i on s h i p
wi t h t h e
pe opl e
t h a t t h e
or di n a r ype r s on
doe s n 't h a ve . I t h i n k h e c a n
br i n g
a bout
c h a n ge s .
MR. B EA RDEN:
We l l ,
l e t m e a s k
you
a
que s t i on ,
T om .
You'r e
goi n g
t o h a ve a s h ow
s h or t l y
a t t h e St udi oMu-
s e um i n Ha r l e m . T e l l us h ow
you
fe e l wh a t
you
h a ve
don e r e l a t e s t o t h e Ha r l e m
c om m un i t y.
Do
you
wi s h t o
di r e c t
your
a r t t o t h e
c om m un i t y?
MR. LLOYD: Ye s . I
h ope m y
s h owwi l l m a k e B l a c k
pe o-
pl e
a wa r e of wh a t 's
h a ppe n i n g
i n a r t
t oda y.
A l ot of
B l a c k
pe opl e
a r e i n vol ve d i n
h e l pi n g
m e for m t h a t
s h ow,
i n
h e l pi n g
m e m a k e
m y s c ul pt ur e s ;
t h a t 's
pa r t
of t h e
m us e um
i de a ,
a n d I don 't t h i n k t h i s h a s
h a ppe n e d
be -
for e . B ut
m a i n l y
I t h i n k B l a c k
pe opl e
c a n r e l a t e t o
m y
wor k -i t 's a vi s ua l
t h i n g.
Wh e n I wa s
wor k i n g
i n
m y
s t udi ol i t t l e B l a c k k i ds woul d c om e
up
t o
m y
door a n d
jus t
l ook a t
m y l i gh t s c ul pt ur e
a n d
t h e y'd
l i k e i t a n d
s om e h owr e l a t e t o i t .
MR. WILLIA MS:
Ye s ,
but woul d a wh i t e k i d do t h e
s a m e
t h i n g, t h ough ?
MR. LA WRENCE: Ye s .
MR. LLOYD: B ut I'm i n t e r e s t e d i n a B l a c k k i d.
MR. WILLIA MS: A n d i f
s o,
i f a wh i t e k i d woul d do t h e
s a m e
t h i n g,
wh a t m a k e s i t B l a c k a r t t h e n ?
B e yon d
t h a t
you
di d i t ?
MR. LLOYD: I don 't k n owwh a t m a k e s i t B l a c k a r t
e xc e pt
t h a t i t e xi s t s i n t h e B l a c k
c om m un i t y.
MR. WILLIA MS:
Ye s ,
but
you
c oul d h a ve m a de t h e
s a m e for m s on
Iot h
St r e e t a s
we l l ,
s o i t 's n ot
un i que l y
r e l a t e d t o t h a t
pa r t i c ul a r c om m un i t y.
MR. LLOYD: It 's r e l a t e d be c a us e I'm
B l a c k ,
a n d I k n ow
wh e r e
m y fe e l i n gs
l i e .
MR. WILLIA MS:
Ye s ,
but
s e e ,
wh a t I'm
t r yi n g
t o
ge t
a t i s t h a t we t a l k a bout
m a k i n g
B l a c k a r t . A n d i f we 'r e
r e a l l yt a l k i n g
a bout B l a c k
a r t ,
we 'r e
t a l k i n g
a bout s om e -
t h i n g
i n wh i c h t h e for m s a r e
un i que l y
B l a c k .
MR. LLOYD: We 'r e
t a l k i n g
a bout c om m un i c a t i on . I
don 't e ve n k n owt h a t we 'r e
t a l k i n g
a bout
for m s
n e c e s -
s a r i l y.
It 's l i k e h ow
you
fe e l a n d wh a t
you'r e doi n g.
I
m e a n ,
wi t h t h e k i n d of
t h i n g
I
do,
m os t
pe opl e
don 't
e ve n a s s oc i a t e m e wi t h
be i n g B l a c k ,
a n d wh e n
t h e y
s e e
m e
t h e y'r e
r a t h e r s h oc k e d a n d i n s om e c a s e s r a t h e r h ur t
a n d I don 't k n ow
wh y.
MR. GILLIA M:
IS
t h e r e a
s pe c i fi c
for m of a r t t h a t a B l a c k
a r t i s t doe s t h a t s h oul d be
i m m e di a t e l y
i de n t i fi a bl e ?
MR. LLOYD: T h e r e h a s be e n i n t h e
pa s t -B l a c k
a r t i s t s
we r e
pr i m a r i l y
k n own a s s oc i a l
pa i n t e r s .
B ut t h a t 's n ot
wh a t I m e a n : I k n owt h a t i t 's
ve r yi m por t a n t
for m e t o
r e l a t e t o B l a c k
pe opl e
wi t h
m y
wor k ,
a n d I h a ve t o
t a g
m ys e l f
a s
be i n g
B l a c k a n d
be i n g
i n t e r e s t e d i n t h e B l a c k
m a n . T h i s i s
pa r t
of
m y ve r y
e xi s t e n c e . It 's
i m por t a n t
t o
s om e h owr e l a t e t o our own
pe opl e .
MR. WOODRUFF: Wh a t
you'r e s uppor t i n g
a n d
a s s e r t i n g
t h e n i s t h e B l a c k
a r t i s t ,
n ot B l a c k a r t .
MR. LLOYD:
Ye a h ,
I'm
s uppor t i n g
t h e B l a c k
a r t i s t ,
but
by s uppor t i n g
t h e B l a c k
a r t i s t ,
n a t ur a l l y
I'm a l s o
s up-
por t i n g
t h e B l a c k
c om m un i t y.
I t h i n k t h a t t h i s i s s o
i m por t a n t .
MR. WOODRUFF: It i s .
MR. WILLIA MS:
Ma ybe
I'm
dwe l l i n g
on a
poi n t ,
but
"B l a c k a r t 's " k i n d of a
t ouc h yt h i n g
wi t h m e ...
MR. LLOYD:
No,
don 't
you
s e e ? B l a c k a r t c a n be
a n y
k i n d of
a r t ,
i t c a n be
a n yt h i n g.
It c a n be a
pa i n t i n g
of
a l i t t l e B l a c k c h i l d or a l a s e r be a m
r un n i n g
a r oun d t h e
r oom . We h a ve t o
pr oje c t
t h a t t h e a r t i s t i s B l a c k .
MR. WILLIA MS:
My poi n t
i s t h a t i t c a n be a l a s e r be a m
or a de
Koon i n g dr a wi n g
or a n um be r of ot h e r
t h i n gs .
It s e e m s t o m e t h a t we 'r e
be l a bor i n g
t h e l a be l of B l a c k
a r t for
n ot h i n g.
Wh a t
you'r e s a yi n g
i s t h a t
you
s h oul d
h a ve a c om m i t m e n t t o t h e B l a c k
c om m un i t y,
t o e du-
c a t e t h e m t o t h e vi s ua l wor l d. We 'r e n ot
t a l k i n g
a bout
B l a c k a r t
pe r
s e .
MR. LLOYD: Not i n t h a t
s e n s e ,
n o. B ut
on l y
i n t h e
s e n s e t h a t t h e B l a c k a r t i s t h a s n 't e ve r be e n
publ i c i ze d.
He doe s n 't e xi s t . I'm wi t h a
gr oup
c a l l e d B l a c k Vi s ua l
En vi r on m e n t s ,
a n d we 'r e a
gr oup
of
pr ofe s s i on a l
a r t i s t s
wh o
h ope
t o
br i n g
a
bi g, bi g c h a n ge
a bout i n Ne w Yor k
t h r ough
va r i ous m e a n s -
put t i n g pr e s s ur e on
pe opl e
i f we
h a ve
t o,
but
m a i n l y by wor k i n g
i n t h e B l a c k c om m un i -
t i e s . We 'r e n ot
goi n g
t o t e a c h
a r t ,
we 'r e
goi n g
t o
ge t
i n vol ve d i n t h e wh ol e
pol i t i c a l
s t r uc t ur e .
MR. WILLIA MS: It s e e m s t o m e t h a t
you
c oul dn 't
r e a l l y
m a k e a r t a s we k n ow i t n ow we l c om e or r e l e va n t t o t h e
B l a c k
c om m un i t y.
MR. LLOYD:
Wh y
n ot ? You m e a n t o
s a y
i f t h e r e wa s a
s t a t ue of Ma r t i n Lut h e r
Ki n g
on Se ve n t h A ve n ue ...
MR. WILLIA MS: We 'r e n ot
t a l k i n g
a bout s t a t ue s .
T h e r e 's a di ffe r e n c e .
MR. LLOYD: B ut we 'r e
t a l k i n g
a bout a r t .
MR. WILLIA MS:
Ye a h ,
but s t a t ue s a r e n 't
n e c e s s a r i l y
a r t . Wh a t I'm
t r yi n g
t o
s a y
i s t h a t i f
you
t ook
your l i gh t
pi e c e s
a n d
put
t h e m on
I25t h
St r e e t t h e r e woul d be a
c e r t a i n a m oun t of
e xpos ur e
t o
your c om m un i t y,
but
woul d t h a t
e xpos ur e
m a k e t h e
pi e c e s
r e l e va n t t o t h e c om -
m un i t y-t h e
t ot a l B l a c k
c om m un i t y
a n d n ot
jus t
t h e
k i ds
you'r e wor k i n g
wi t h ?
MR. LLOYD: It 's r e l e va n t t o t h e B l a c k
c om m un i t y
i f
t h e y
c a n
i de n t i fy
wi t h i t . If I
put up
a s t a t ue of
St ok e l y
Ca r m i c h a e l , l i k e ,
pe opl e
a r e
goi n g
t o
i de n t i fy
wi t h t h a t .
MR. WILLIA MS: B ut t h e n
by
t h e s a m e t ok e n I c a n t a k e
a
n e ws pa pe r c l i ppi n g
of Ma r t i n Lut h e r
Ki n g
a n d bl ow
i t
up
a n d
e ve r yon e
wi l l
i de n t i fy,
but I c a n 't
c a l l t h a t a r t .
Ph ot ogr a ph : Ge or ge Fr ye
MR. LLOYD: No, I woul dn 't c a l l t h a t a r t e i t h e r .
MR. WILLIA MS: It 's a
h i gh e r
a e s t h e t i c t h a t we 'r e t a l k -
i n g
a bout .
MR. LLOYD: Of c our s e i t i s -I'm a
pr ofe s s i on a l
a r t i s t ,
you
k n ow. I'm
t a l k i n g
a bout a c e r t a i n for m of a r t t h a t 's
m e a n i n gful .
MR. B EA RDEN:
T om ,
i n ot h e r
wor ds ,
you'r e s a yi n g
t h a t
you
wa n t t o di r e c t
your
e ffor t s t owa r d t h e B l a c k c om -
m un i t y,
a n d t h e m e r e fa c t t h a t
you
a r e t h e r e a n d
m a k i n g
your
wor k a c c e s s i bl e a n d i n a c e r t a i n s e n s e
di r e c t i n g
i t
t o t h e m woul d
c l a s s i fy
t h e wor k a s B l a c k a r t . T h i s wor k
c oul d t a k e
a n y
for m ?
MR. LLOYD: Ye s . It c oul d be k i n e t i c or
l i gh t s c ul pt ur e ,
i t c oul d be
pa i n t i n g,
i t c oul d be
a n yt h i n g,
i f t h e
pe r s on
wh odoe s i t h a s t h e s e
t h i n gs
i n m i n d.
MR. LA WRENCE: We 'r e i n vol ve d i n
m a n y pr obl e m s
h e r e . I
a gr e e
wi t h Mr . B e a r de n t h a t e c on om i c
pr obl e m s
l e a d i n t o t h e
pr ofe s s i on a l
on e s . Som e h owwe 've m i s s e d
on e
ve r y i m por t a n t t h i n g
-
gove r n m e n t
i n vol ve m e n t i n
a r t . If we
go
ba c k a bout
t h i r t yye a r s
we 'l l fi n d t h a t s om e
of t h e
gr e a t e s t pr ogr e s s , e c on om i c ,
pr ofe s s i on a l ,
a n d s o
on ,
wa s m a de
t h e n ,
by
t h e
gr e a t e s t
n um be r of a r t i s t s -
n ot
on l yNe gr o
a r t i s t s but wh i t e on e s a s we l l . T h e
gr e a t -
e s t
e xpos ur e
for t h e
gr e a t e s t
n um be r of
pe opl e
c a m e dur -
i n g
t h i s
pe r i od
of
gove r n m e n t
i n vol ve m e n t i n t h e a r t s .
T h a t i s wh a t
m a n ypr ofe s s i on a l or ga n i za t i on s
l i k e A r t i s t s
Equi t y,
t h e t h e a t e r
gr oups ,
a n d s o
on ,
h a ve be e n
t r yi n g
t o do. T h e
gove r n m e n t
h a s m a de s t a bs a t i t -
you've got
va r i ous c om m i t t e e s a n d
t h e y've gi ve n s t i pe n ds ,
but n ot h -
i n g
m a s s i ve l i k e t h e
t h i n g t h i r t yye a r s a go.
I t h i n k wh a t
we n e e d i s a m a s s i ve
gove r n m e n t
i n vol ve m e n t i n t h e a r t s
-
by m un i c i pa l gr oups
or
by
t h e s t a t e or
by pr i va t e
or -
ga n i za t i on s
or
by
m us e um s l i k e t h e
Me t r opol i t a n .
Wh a t
we n e e d i s m or e c on c e r n wi t h t h e
ph i l os oph y
of s oc i a l i s m
- t h a t 's t h e
on l ywa y
we 'r e
goi n g
t o a c h i e ve t h i s s or t of
pr ogr e s s ,
a n d
we ,
t h e
Ne gr oa r t i s t s ,
a r e
goi n g
t o be n e fi t
by
t h i s .
T h a t l e a ds m e i n t oa n ot h e r
t h i n g.
I t h i n k we m us t be
ve r y
c a r e ful n ot t oi s ol a t e
our s e l ve s ,
be c a us e
m a n y
of t h e
t h i n gs
we 'r e
t a l k i n g
a bout n ot
on l ype r t a i n
t o t h e
Ne gr o
a r t i s t but
pe r t a i n
t o t h e a r t i s t
ge n e r a l l y.
If
t h e y'r e
a c -
c om pl i s h e d
we wi l l a l l be n e fi t
by
t h e m .
I a l s ot h i n k t h a t
m a n y
of t h e s e
pr obl e m s
we 'r e m e n -
t i on i n g
h a ve t o be s ol ve d
i n di vi dua l l y.
You
m a y
fe e l ,
Mr .
Ll oyd,
a n d I
m a y
fe e l t h a t we h a ve t o wor k i n a
c om m un i t y
t h a t 's
pr e dom i n a t e l yNe gr o,
l i k e Ha r l e m .
Ot h e r s
m a y
fe e l t h a t we wi l l be n e fi t t o a
by wor k i n g
out s i de of t h e
c om m un i t y
a n d
be i n g (t h i s
i s
a n un for t un a t e
t e r m ) "i n t e gr a t e d
i n t o t h e m a i n s t r e a m "
of t h e ove r a l l n a t i on a l
c om m un i t y.
MR. LLOYD:
Ye a h ,
but h a ve n 't we be e n
i n t e gr a t e d
for
s o
l on g?
I
m e a n ,
wh e r e a r e we n ow? We 'r e
h e r e ,
you
k n ow,
t a l k i n g
a bout t h e ba d s i t ua t i on we 'r e i n be c a us e
we 've be e n
i n t e gr a t e d.
MR. LA WRENCE: Wh o's be e n
i n t e gr a t e d?
We 've n e ve r
be e n
i n t e gr a t e d.
MR. LLOYD: T h e r e 's n e ve r be e n
a n y
r e a l
un i t ya m on gs t
t h e B l a c k a r t i s t s .
MR. LA WRENCE: Oh s ur e t h e r e 's
be e n , m a n ,
you
don 't
k n ow
your h i s t or y.
I t h i n k B l a c k a r t i s t s h a d a
gr e a t e r
de gr e e
of
un i t y
wh e n I wa s a
youn gs t e r
t h a n
t h e y
h a ve
n ow.
Pr oba bl y
Mr . Woodr uff c a n
gi ve you
a be t t e r a c -
c oun t of t h i s s i n c e h e 's ol de r t h a n I
a m ,
but a t
a n y
r a t e ,
r i gh t
a ft e r t h e Re c on s t r uc t i on a n d
m a ybe be for e ,
you
h a d va r i ous a r t c om m un i t i e s
a m on g your Ne gr o
a r t i s t s .
You h a d
your
Wa l k e r
gr oup, your
Da r k t owe r s
gr oup,
you
h a d
your Ne gr oRe n a i s s a n c e ,
wh i c h wa s a
ve r yt i gh t
or ga n i za t i on .
T h e r e we r e c ul t ur a l
gr oups
-
m a ybe
t ooi s o-
l a t e d,
but
you
di d h a ve
t h e m ,
e ve n m or e t h a n
you
do
n ow. I'm n ot
s a yi n g
t h i s wa s a
t ot a l l y good t h i n g,
but i t
h a d i t s
good a s pe c t s .
MR. LLOYD: Wh a t we r e s om e of t h e
good a s pe c t s
a n d
wh a t we r e s om e of t h e ba d?
MR. LA WR ENCE: On e of t h e
good t h i n gs
wa s t h a t t h e r e
wa s a
c om m un i t y
of a r t i s t s wh o h a d a
s pi r i t ua l
r e l a t i on -
s h i p,
I
gue s s you'd
c a l l i t . A n d t h e r e we r e a fe w
pa t e r n a l
or ga n i za t i on s
l i k e t h e Ha r m on Foun da t i on t h a t woul d
h e l p
t h e
Ne gr o
a r t i s t . On e of t h e ba d
a s pe c t s
wa s t h a t
m a ybe
we n e ve r a t t a i n e d t h e
t op de gr e e
of
pr ofe s s i on a l
s t a t us be c a us e of t h e e c on om i c
a s pe c t s
of t h e s i t ua t i on .
T h e r e wa s n o
wa y
for a r t i s t s t o m a k e a
l i vi n g e xc e pt
for
a fe w
pe opl e
wh o we r e
t e a c h i n g
i n
Ne gr o c ol l e ge s ,
a n d
a r t i s t s c oul d n e ve r
ge t
i n t o t h e e c on om i c m a i n s t r e a m .
B ut a s i de fr om
t h a t ,
t h i s
c om m un i t y r e l a t i on s h i p
wa s
ve r y good,
a n d i t e xi s t e d t h e n m or e t h a n i t doe s n ow.
MR. LLOYD:
We l l ,
I h a ve n 't h e a r d a bout i t . I n e ve r r e a d
a bout i t i n s c h ool or
a n ywh e r e .
MR. LA WRENCE: I t h i n k t h e
youn g pe opl e t oda y
don 't
k n ow t h e s e
t h i n gs
be c a us e t h e r e i s n 't t h a t k i n d of i n t e r e s t .
MR. LLOYD: It 's n ot t h e r e i s n 't a n i n t e r e s t - t h e m a t e -
r i a l 's n ot a va i l a bl e t o t h e m . How c oul d on e h e a r a bout
t h i s
gr oup you'r e t a l k i n g
a bout ? How c oul d on e l e a r n
a bout i t ?
Ce r t a i n l y
n ot
by c om i n g
i n t h i s m us e um a n d
buyi n g
a book .
MR. HUNT : I've s e e n t h i s m a t e r i a l i n t h e
Sc h om bur g
Col l e c t i on
[t h e
br a n c h of t h e Ne w Yor k Publ i c
Li br a r y
on
I35t h St r e e t ].
MR. LLOYD: Eve n t h a t c ol l e c t i on i s n ot t h a t
publ i c i ze d.
MR. HUNT :
We l l ,
I m us t
s a yyou
s or t of wa n t
e ve r ybody
t o
br i n g
i t a n d
put
i t i n
your l a p.
250
MR. LLOYD: I wa n t i t t o be wh e r e I'm a t .
MR. HUNT : T h e k i n d of
t h i n g
Ja k e
La wr e n c e i s
t a l k i n g
a bout wa s
goi n g
on i n
Ch i c a godur i n g
t h e WPA
da ys .
T h e r e wa s t h e Sout h Si de
Com m un i t y
A r t
Ce n t e r ,
for
i n s t a n c e .
It 's
i n t e r e s t i n g
t os e e h ow
t h i n gs
h a ve
gon e
on e
wa y
a t
on e
poi n t
a n d a n ot h e r
wa y
a t a n ot h e r
poi n t .
A ft e r t h e
wa r a fe w
Ne gr o
a r t i s t s we r e m or e
i n t e gr a t e d
i n t h e
l a r ge r
s c e n e ,
a n d n ow
t h i n gs
a r e s or t of
goi n g
ba c k wa r d - T om
Ll oyd
i s
ge t t i n g
m or e a n d m or e i de n t i fi e d wi t h t h e
Ne gr o
c om m un i t y,
h e 's s or t of
goi n g
ba c k i n t o i t . T h e k i n d of
h i s t or y
t h a t Ja k e La wr e n c e i s
out l i n i n g gi ve s you
a k i n d
of
pe r s pe c t i ve , s om e t h i n g
t h a t
you
c a n s t a r t fr om - l i k e
m a ybe
n ot
m a k i n g
t h e m i s t a k e s of t h e
pa s t
a n d
h e l pi n g
youde ve l op
t h i s i de a of
m a k i n g your
a r t r e l e va n t t o t h e
Ne gr oc om m un i t y.
I m us t
s a y
I t h i n k
you'r e t a l k i n g
a bout t wodi ffe r e n t
t h i n gs . Ok a y, you'r e
a B l a c k a r t i s t a n d
l i vi n g
i n a B l a c k
c om m un i t y.
T h a t 's fi n e . Wh e t h e r
your
a r t i s B l a c k or
n ot doe s n 't m a k e
a n y
di ffe r e n c e . I t h i n k
you n e e dl e s s l y
c on fus e t h e i s s ue s
by i n s i s t i n g
t h a t t h e r e 's
s om e t h i n g
a bout
l i vi n g
i n a B l a c k
c om m un i t y
t h a t m a k e s
your
a r t
B l a c k . T h a t 's
jus t
n ot t r ue .
MR. LLOYD: I'm n ot
jus t t a l k i n g
a bout m e . T h e wh i t e
c om m un i t y
h a s n 't
a c c e pt e d
B l a c k a r t i s t s for
ye a r s
a n d
ye a r s ,
a n d
t h e y'r e
n ot e ve n
r e a dy
t o
n ow,
r e a l l y.
A n d s o
I'm n ot
jus t
a n a r t i s t . T h e r e for e I'm a B l a c k a r t i s t . If
wh i t e
s oc i e t y
i s n ot
goi n g
t o
a c c e pt m y
wor k ,
I'm a B l a c k
a r t i s t . I'm n ot a wh i t e a r t i s t .
MR. LA WRENCE: I've s e e n a
c oupl e
of
your pi e c e s
a n d
I woul d
put
i t t h i s
wa y:
I t h i n k
you
a r e a n a r t i s t wh o
h a ppe n s
t o be
B l a c k ,
but
you'r e
n ot a B l a c k a r t i s t .
Se e ,
t h a t 's t h e di ffe r e n c e .
MR. LLOYD: No,
I'm a B l a c k a r t i s t wh oh a s r e fus e d t o
be c on di t i on e d ...
MR. LA WRENCE: Wa i t a m i n ut e . Fr om wh a t I've s e e n
of
your wor k -a l t h ough you m a y
be a t e r r i fi c a r t i s t -
t h e r e 's n o
pos s i bl e wa y
t h a t I c a n s e e
a n yon e
i n t h e B l a c k
c om m un i t yr e l a t i n g
t o
your
wor k .
T h e ym a yr e s pon d
t o
i t
a e s t h e t i c a l l y, t h e y m a y
fe e l t h a t i t 's a t e r r i fi c
pi e c e
-
but I c a n 't s e e h ow
a n yon e
woul d r e l a t e t o
i t ,
a n d I don 't
s e e
wh y t h e y
s h oul d.
MR. LLOYD:
T h e y
woul d r e l a t e t o i t i f
t h e y
k n e wt h a t
I a m B l a c k . T h a t 's
ve r yi m por t a n t .
MR. LA WRENCE: T h a t 's n ot
i m por t a n t
i n a wor k of a r t .
MR. LLOYD: It 's
i m por t a n t
t o B l a c k
pe opl e , you
k n ow.
I'm n ot
on l y
c on c e r n e d wi t h a r t . Wi t h m e a r t i s a s e c -
on da r yt h i n g.
MR. LA WRENCE: I t h i n k
you'r e be ggi n g
t h e
que s t i on
h e r e a n d
you'r e m a k i n g
a n e xc us e t h a t
you
don 't h a ve
t om a k e . Youc a n be a
ve r y
fi n e a r t i s t a n d I t h i n k
you'l l
be
c on t r i but i n g.
T h e r e 's n or e a s on
wh yyou
h a ve t o
pa i n t
or wor k i n a c e r t a i n
wa y,
a n d h a ve t h e
i m a ge
of B l a c k -
n e s s wr i t t e n on
your
wor k t o be a fi n e a r t i s t .
MR. LLOYD: It doe s n 't h a ve t o be wr i t t e n on . B ut don 't
t e l l m e t h a t B l a c k
pe opl e
c a n 't r e l a t e t o
m y
wor k .Wh e n
t h e y
s e e m e a n d
t h e y
s e e
m y
wor k ,
I k n owwh a t
t h e ys a y.
T h e ys a y, "Di g
i t ,
a B l a c k c a t di d t h a t ." A n d t h a t m e a n s
s om e t h i n g
t o
t h e m ,
I k n owi t doe s .
MR. WILLIA MS: B ut wh a t
h a ppe n s
wh e n
you'r e
n ot
t h e r e ?
MR. LLOYD: I'm
t a l k i n g
a bout
m y
wor k
be i n g
m e a n -
i n gful
t o B l a c k
pe opl e ,
a n d t h a t 's
ve r yi m por t a n t .
MR. B EA RDEN:
Suppos e
t h e B l a c k
c om m un i t y
di dn 't
a c c e pt your
wor k a n d t h e wh i t e
c om m un i t y
di d.
Suppos e
you
h a d be e n
a c c e pt e d by
t h e wh i t e
c om m un i t y, ful l y
a c c e pt e d.
Woul d
you
h a ve
gon e
t o t h e B l a c k
c om m un i t y
t o s h ow
your
wor k i f
you
h a d t h a t k i n d of
a c c e pt a n c e ?
T h i n k a bout i t .
MR. LLOYD: I've
t h ough t
a bout t h a t be for e . I've m a de
i t - I'm
m a k i n g
a
l i vi n g
off
m y
a r t ,
a
pr e t t ygood l i vi n g.
I c a n
jus t k e e pm y
m out h s h ut a n d
go
a h e a d a n d m a k e
n i c e c on s t r uc t i on s for
pe opl e
t o
buy.
B ut I'm n ot
t a l k i n g
a bout m e . I'm
t a l k i n g
a bout B l a c k a r t i s t s . I'm
t a l k i n g
a bout B l a c k a r t i s t s i n t h e
pa s t ,
B l a c k a r t i s t s i n t h e fut ur e .
Si m pl y
be c a us e
t h e y'r e
B l a c k ,
t h e r e a r e m i l l i on s of r oa d-
bl oc k s i n fr on t of t h e m .
MR. GILLIA M: I t h i n k I
wor r y
m or e a bout t h e
qua l i t y
of t h e
e xpe r i e n c e c om i n g
t o t h e B l a c k
c om m un i t y.
A n d
I t h i n k t h e r e i s a n e e d t o r a i s e t h e vi s ua l or i e n t a t i on of
t h e B l a c k
c om m un i t y. Dur i n g
t h e r i ot s i n
Wa s h i n gt on ,
wh e n t h e wh i t e s di dn 't c om e i n fr om t h e
s ubur bs ,
ga l l e r y
a t t e n da n c e fe l l
wa y
off. If
Wa s h i n gt on
h a s a
s i xt ype r
c e n t
m a jor i t y
of B l a c k
pe opl e , wh y
doe s m us e um a t t e n da n c e
fa l l down wh e n
s om e t h i n g h a ppe n s
s o t h e wh i t e s don 't
go?
It 's
e a s y
t o s e e t h a t we c oul d
e a s i l y
h us t l e
up
t o
Ha r l e m or ove r t o
i 4t h
St r e e t a n d
put up
a l ot of s t r uc -
t ur e s t h a t woul d be
m e a n i n gful .
B ut
i n s t e a d,
i s n 't i t t h a t
m us e um s a s s uc h h a ve n ot s e r ve d t h e t ot a l
c om m un i t y?
Wh y
c a n 't m us e um s
r e a l l ye m ph a s i ze
t h e k i n d of
pr o-
gr a m s
t h a t wi l l
br i n g
a
pe r s on
fr om wh e r e h e i s t owh e r e
t h e be t t e r
fa c i l i t y
i s ? A n d wh e n h e 's t h e r e
wh y
c a n 't
you
m a k e h i m
a c t ua l l y
we l c om e ? T h i s i s t h e k i n d of
poi n t
we s h oul d
pur s ue ,
n ot dwe l l on "a r t
m e a n i n gful
t o B l a c k
pe opl e ."
Wh a t we s h oul d be
t a l k i n g
a bout i s t h e
qua l i t y
of a e s t h e t i c
e xpe r i e n c e s
a va i l a bl e t o
pe r s on s
wi t h i n t h e
B l a c k
c om m un i t y,
a n d
r a i s i n g
t h e l e ve l of t h i s
qua l i t y.
B ut l e t 's n ot
for ge t
a bout wh a t h a s
gon e be for e ,
l e t 's n ot
for ge t
a bout B l a c k
h i s t or y.
In
fa c t ,
l e t 's
e m ph a s i ze
t h i s
m or e .
25I
MR. B EA RDEN: I t h i n k t h a t 's
ve r y
t r ue . A n d I t h i n k
wh a t
Ja k e
wa s
s a yi n g
a bout t h e
c om m un i t ys pi r i t
of t h e
Ha r l e m A r t i s t s Gui l d wa s t r ue . T h i s i s wh a t i t di d for m e :
I we n t t o t h e fi r s t
m e e t i n g:
I wa s
s ur pr i s e d
t o s e e
fi ft y
or
s i xt ype opl e
t h e r e . I h a dn 't k n own t h e r e we r e t h a t
m a n y
Ne gr o
a r t i s t s i n Ne w Yor k !
Wh e n
t h e y
di d t h e n e ws r e l e a s e on T om for h i s
s h ow,
i t wa s s t a t e d t h a t t h e Ha r l e m St udi oMus e um i s t h e fi r s t
m us e um i n Ha r l e m . T h a t 's n ot t r ue ! T h e r e wa s on e on
I25t h
St r e e t a n d Le n ox A ve n ue a l l
dur i n g
t h e t h i r t i e s -
Ja k e
a n d I s h owe d a t i t . It wa s n 't
on l y
a
m us e um ,
but
t h e y
h a d
t e a c h i n g
t h e r e ,
wor k s h ops ,
t e xt i l e
we a vi n g,
l i t h ogr a ph y.
MR. LLOYD: T h a t 's wh a t we n e e d n ow.
MR. LA WRENCE: I c a n
a ppr e c i a t e
wh a t
you s a y,
but I
t h i n k
you'r e goi n g
t ofa l l i n t oa
t r a p
i f
youpur s ue
t h i s t o
t h e
de gr e e
t o wh i c h
you
a r e
pur s ui n g
i t . B e c a us e
you'r e
goi n g
t oh a ve
pe opl e
fr om down t own
s a yi n g,
"We l l ,
l e t 's
gi ve
t h e s e
pe opl e upt own
a l i t t l e
s om e t h i n g
a n d we c a n
for ge t
a bout t h e m for a
c oupl e
of
ye a r s ."
We a r e m or e i n vol ve d n ow- i t
m a y
n ot be t o t h e de -
gr e e
t h a t we t h i n k
i de a l ,
but we a r e m or e i n vol ve d n ow
i n t h e t ot a l
c om m un i t y
s t r uc t ur e t h a n we 've e ve r be e n .
I t h i n k a l l of us wi l l
a gr e e
wi t h t h a t . B ut I t h i n k t h e
t h i n g
for us t o
pur s ue
- a n d I
r e pe a t
t h i s - i s n ot
on l y
t o
ge t
m a s s i ve a i d a n d
h e l p
wi t h i n t h e
Ne gr oc om m un i t y,
but n ot t o t e a r us
a wa y
fr om t h e m a i n
c om m un i t y,
n ot
a l l owi n g pe opl e
down t own t o
s a y,
a s I s a i d
be for e , "We l l ,
l e t 's
gi ve
t h e m a l i t t l e
s om e t h i n g
a n d we c a n
for ge t
a bout
t h e m ."
MR. LLOYD: I'm n ot i n t e r e s t e d i n wh a t
t h e y
t h i n k .
No,
t h e y
h a ve n 't don e
a n yt h i n g up
t o t h i s
poi n t .
A n d
you
s a y
t h a t we 'r e i n vol ve d. I don 't t h i n k we a r e i n vol ve d.
I t h i n k t h e r e a r e a l ot of B l a c k a r t i s t s t h a t a r e n 't
m a k i n g
a
l i vi n g
a n d t h a t a r e n ot
c om m un i c a t i n g
wi t h t h e
pe opl e
i n t h e
gh e t t o.
I m e a n l i k e
n ot h i n g's h a ppe n i n g.
So i f
s om e for m of
s e pa r a t i s m
i s
goi n g
t o m a k e
t h i n gs h a ppe n ,
I'm a l l for i t . A n d I t h i n k i t wi l l .
I l i k e t h e
t h i n gs you
we r e
s a yi n g
a bout t h e va r i ous
pr ogr a m s
i n t h e
t h i r t i e s ,
B l a c k s
be i n g t oge t h e r .
I don 't
k n owwh a t c a m e of
i t ,
but I'm s ur e s om e
good t h i n gs
c a m e of i t . A n d I'm a l l for t h a t
a ga i n .
MR. B EA RDEN: Wh a t c a m e of i t wa s ...
MR. LA WRENCE:
Pe opl e
we r e i n vol ve d. It
br ough t
a
c a m a r a de r i e ...
MR. WOODRUFF: It
br ough t
a
of
pr o-
fe s s i on a l i s m .
MR. B EA RDEN: Ja k e
wa s a bout t h e fi r s t a r t i s t wh o
got
out of t h e Ha r l e m
c om m un i t y,
wh o
got
a on e -m a n s h ow
down t own . B ut be for e
t h a t ,
our m i n ds di dn 't t h i n k
pa s t
I ot h St r e e t . T h i s wa s l i k e a c us t om s ba r r i e r ba c k t h e n .
MR. LLOYD: Wh a t I'm a ft e r i s
h a vi n g m y
l i t t l e B l a c k
gi r l e xpos e d
t oa r t . A n d i f s h e wa n t s t obe a
pot t e r
I don 't
wa n t h e r t o be i n t h a t on e -t o-t h r e e r a t i o. T h e r e
m a y
be
jus t
t h r e e B l a c k
pot t e r s
h e r e i n Ne w Yor k . I wa n t t o
i m pr ove
on t h a t . Li k e a wh ol e l ot .
MR. WILLIA MS: It s e e m s t o m e t h a t
you
h a ve n 't
r e a l l y
t ouc h e d on on e of t h e
poi n t s
Mr . Gi l l i a m
br ough t up
-
t h e
qua l i t y
of t h a t
pot t e r y
or t h e
qua l i t y
of t h a t
s c ul p-
t ur e or t h e
qua l i t y
...
MR. LLOYD: Wh a t do
you
m e a n ,
"qua l i t y"! T h e y
h a ve
t o be
e xpos e d.
Wh a t m a k e s
you
t h i n k t h a t t h e
qua l i t y
i s
goi n g
t o be
a n y
l e s s be c a us e
t h e y'r e
B l a c k ?
MR. WILLIA MS: I don 't t h i n k I'm
i m pl yi n g
t h a t . I
t h i n k wh a t I'm
t r yi n g
t o
s a y
i s t h a t t h e n a t i on a l i s m
a bout i s a
ve r yda n ge r ous t h i n g.
MR. GILLIA M: I woul d
s a y
t h a t be for e I l ook e d a l l ove r
Ne w Yor k for B l a c k
pot t e r s
a n d c oul d fi n d
on l y
t h r e e
-
a n d be for e I
k e pt s om e body
fr om
m a k i n g pot s
a n d
be i n g
t ur n e d on
by
i t - i s t h a t I'd fi n d m e a
pot t e r
fi r s t . I don 't
t h i n k I'd
wor r y
a bout h i s
c ol or ;
I t h i n k I'd
wor r y
m or e
a bout t h e
qua l i t y
of t h e
e xpe r i e n c e .
MR. LLOYD:
Look ,
I'm wor r i e d a bout t h e
qua l i t y
t oo,
but I a m wor r i e d a bout t h e fa c t t h a t t h e r e 's
on l y
t h r e e
B l a c k
pot t e r s
h e r e i n Ne w Yor k . T h a t h a s a l ot of
i m pl i -
c a t i on s ,
a n d I don 't t h i n k
you'r e fa c i n g up
t o t h e m .
MR. HUNT :
We l l ,
you
k n ow,
you
c oul d do
s om e t h i n g
e l s e . You c oul d h i r e a wh i t e
pot t e r
wh i l e
you
l ook e d for
a n ot h e r B l a c k
pot t e r ,
a n d t h e n fi r e t h e wh i t e
pot t e r
a n d
h i r e t h e B l a c k . T h e n
you
woul d s h ow
your pe opl e
s om e -
t h i n g
a bout
you.
MR. LLOYD:
Pe r h a ps
i t
woul d,
a n d
pe r h a ps
t h a t
m i gh t
h a ve be e n l i k e a n i de a I h a d. B ut I'm m or e i n t e r e s t e d
i n
youn g
B l a c k k i ds
h a vi n g
a n
oppor t un i t y jus t
t o be
a
pot t e r .
MR. GILLIA M: Wh a t
you m a y
be
r un n i n g
i n t o i s t h e
s a m e
di ffi c ul t y t h e y
h a d i n on e of t h e s um m e r
pr ogr a m s
i n
Wa s h i n gt on , l ook i n g
for a B l a c k
s c ul pt or .
You c a n
n a m e a n um be r of
t h e m ,
but
t h e y'd a l r e a dy
be
doi n g
s om e t h i n g
be s i de
pr a c t i c i n g s c ul pt ur e .
I t h i n k wh e n e ve r
you
l ook for B l a c k
pot t e r s ,
B l a c k
pa i n t e r s ,
B l a c k
a r t i s t s ,
t h e y'l l a l r e a dy
be
doi n g s om e t h i n g
e l s e .
MR. LLOYD: A t t h e s a m e t i m e t h e r e a r e a l ot of
pr o-
gr a m s
h e r e i n Ne w
Yor k ,
a n d e ve n i f
you'r e
a
pr ofe s -
s i on a l ,
c a pa bl e
B l a c k a r t i s t
you
c a n 't e ve n
ge t
a
job
i n
t h e
pr ogr a m .
B e c a us e ,
n um be r
on e ,
m os t of t h e c ul t ur a l
pr ogr a m s
a r e n 't r un
by
B l a c k
pe opl e .
I t h i n k t h a t 's
ve r y
i m por t a n t .
I t h i n k B l a c k
pe opl e
a n d B l a c k c om m un i t i e s
s h oul d c on t r ol B l a c k
pr ogr a m s . T h e y'r e
t h e
on l y pe opl e
t h a t c a n
r e a l l y, r e a l l y
r e l a t e t o B l a c k
pe opl e .
252
MR. WILLIA MS: We 'r e
ge t t i n g
i n vol ve d i n
s oc i ol ogy
a ga i n ,
a r e n 't we ?
MR. LLOYD:
We l l ,
s owh a t ?
MR. GILLIA M: I t h i n k i t 's
pr e t t y
h a r d t o
k e e p
t h e
wh ol e
que s t i on a wa y
fr om
s oc i ol ogy.
MR. B EA RDEN: Le t m e s um
up.
T om fe e l s t h a t a l ot of
t h e
pr ofe s s i on a l pr obl e m s
of t h e B l a c k a r t i s t h a ve t o do
wi t h h i s r e l a t i on t o t h e
c om m un i t y.
A n d h e fe e l s t h a t
h i s ,
a n d a n um be r of B l a c k
a r t i s t s ',
wor k s h oul d be di -
r e c t e d t o
m a k i n g
t h e B l a c k
c om m un i t y
m or e a r t -c on -
s c i ous . He
fe e l s , a l s o,
by
t h e m e r e fa c t of h i s
be i n g
a B l a c k
a r t i s t
wor k i n g
i n t h e B l a c k
c om m un i t y,
h e c oul d r e fe r t o
h i s wor k - or wor k don e
bya n yon e
of a s i m i l a r m i n d - a s
B l a c k a r t . Now Mr . Wi l l i a m s h a s
c h a l l e n ge d
t h a t . He
fe e l s t h a t t h e B l a c k a r t i s t s h oul dn 't l i m i t h i s h or i zon t o
jus t
on e
pa r t i c ul a r c om m un i t y,
but s h oul d
t r y
t o
e xpos e
h i s wor k t o a
gr e a t e r
a udi e n c e . I t h i n k we a l l h a ve c om e
t o t h e
c on c l us i on , h owe ve r ,
t h a t t h e r e a r e di r e e c on om i c
a n d
pr ofe s s i on a l pr obl e m s h i n de r i n g
t h e B l a c k a r t i s t i n
t h e ful l
e xpr e s s i on
of h i s
pot e n t i a l .
T h e s e
pr obl e m s
s t e m
fr om s oc i a l
c on di t i on s ,
fr om t h e fa c t t h a t t h e B l a c k a r t i s t
i s n ot
c om pl e t e l y
i n vol ve d i n t h e m a i n s t r e a m . He doe s n 't
go
t o Ea s t
Ha m pt on ,
a n d h e 's n ot a r oun d t h e r e s t of t h e
a r t i s t s . It wa s
br ough t
out t h a t t h e fe w
pe opl e
wh o
buy
don 't
a l wa ys
c on s i de r
h i m ,
a n d h e h a s n ot be e n a bl e t o
ge t
h i s wor k
up
t o
h i gh e r m on e t a r y
l e ve l s .
Un l e s s s om e on e h a s
a n yt h i n g
t o a dd t o t h i s di s c us s i on
of e c on om i c a n d
pr ofe s s i on a l que s t i on s ,
I t h i n k we c a n
go
on t o our t h i r d
poi n t
- t h e a e s t h e t i c
pr obl e m .
I t h i n k
s om e of t h e
t h i n gs
t h a t
you
we r e
t a l k i n g a bout , T om ,
a l s oi n vol ve d
que s t i on s
of c r a ft a n d
i de n t i t y.
I t h r ow
t h e di s c us s i on
ope n .
MR. WOODRUFF: T h i s i s on e of t h e m os t
i m por t a n t
a n d
pr oba bl y
on e of t h e m os t di ffi c ul t t o s ol ve . I t h i n k we
s h oul d
c l a r i fy
wh a t we m e a n
by
a e s t h e t i c
pr obl e m s ,
a n d
pr obl e m s
of
s e l f-i m a ge
or
i de n t i t y
i n t e r m s of t h e
t opi c
we a r e
wor k i n g
wi t h
-
"B l a c k a r t ." We 've be e n t ol d t h a t
a
r e c ogn i za bl y
B l a c k
un i que n e s s
i n t h e a r t
pr oduc t
i s n ot
e s s e n t i a l . T h e r e i s s uc h a
t h i n g
a s a "B l a c k
A n gl o-Sa xon ,"
a n d t h e n t h e r e a r e t h os e wh o
c h a m pi on
t h e n ot i on of t h e B l a c k
h e r i t a ge -wh o
t h i n k t h a t t h e
Ne gr oe s '
a e s t h e t i c
i m a ge
s h oul d c om e fr om h i s B l a c k
A fr i c a n
a n c e s t r y.
I don 't t h i n k t h e r e 's
a n yt h i n gwr on g
wi t h
t h i s ,
be c a us e we wh o a r e
t a k i n g
t h e t r a di t i on a l
for m s of We s t e r n a r t a s a
s t a r t i n g poi n t
a r e
doi n g
t h e
s a m e
t h i n g-we
a r e
be gi n n i n g
wi t h a for m fr om wh i c h
we
m a y
c r e a t e a for m . T h e r e i s a l s ot h e i de a of s ubs t a n -
t i a l l ygood
a r t -a n d t h i s i s wh a t Sa m h a s be e n
t a l k i n g
a bout -c om i n g
fr om t h e s oi l . B ut t h e s oi l of t h e B l a c k
c om m un i t y
m us t n ot
on l y
be
pr oduc t i ve
a n d r i c h i n i t s
r e s our c e s ,
but t h os e wh o t i l l t h a t s oi l a n d
t r y
t o r a i s e a
h a r ve s t - a n d t h a t i s t h e a r t i s t - m us t c om e i n t h e r e wi t h
s om e r e a l a r t i s t i c
i n s i gh t s .
I don 't be l i e ve t h a t t h e s ub-
je c t m a t t e r , t h e h ot -h e a de d a r t of t h e
m om e n t ,
i s of
a n y
c on s e que n c e :
t h e fa c t t h a t t h e a r t i s t s
ge t
a k i n d of fr us -
t r a t i on or
a n ge r
off t h e i r c h e s t i s fi n e . B ut t h e c r e a t i on
of a r t i s
s om e t h i n g
e l s e
a ga i n .
A n d we
m a y
be
qui t e pr on e
t o
a c c e pt a n yt h i n g
t h a t i s
e n joye d,
i n
a n y
k i n d of
s e n s e ,
r e ga r dl e s s
of i t s
qua l i t i e s ,
a s B l a c k a r t . B ut i t i s n ot . A s I
s e e
i t ,
you
s t a r t wi t h a
c on c e pt ,
a t h e m a t i c i de a . A n d out
of t h a t
you've got
t o c r e a t e a for m . A n d I be l i e ve t h e
for m m us t
e m body
a n d
c on ve y
t h a t i de a
vi s ua l l y, ph ys i -
c a l l y.
A bove
a l l ,
t h e
s e n s i bi l i t y
of t h e
a r t i s t ,
h i s be l i e fs a n d
h i s c on vi c t i on s a n d h i s
a s pi r a t i on s ,
m us t c om e
t h r ough
a n d c on t r ol i t . T h i s i s h ow
a n y
a r t i s
pr oduc e d,
be i t
bl a c k , wh i t e ,
gr e e n ,
or bl ue . If t h e r e i s t o be a
B l a c k
a r t
- n ot
jus t s om e t h i n g
m a de
by
a B l a c k a r t i s t - t h e r e m us t
be c e r t a i n out e r m a n i fe s t a t i on s s oi t c a n be
i de n t i fi e d,
a s
you
c a n
i de n t i fy
Or i e n t a l a r t or
pr e -Col um bi a n
a r t or
Es k i m oa r t .
(B ut
I don 't m e a n i n
a n y
s e n s e a
pr i m i t i ve
a r t :
r i gh t
h e r e I
r e je c t
t h e t e r m
"pr i m i t i ve " i n
r e fe r r i n g
t o A fr i c a n a r t or
a n y
s uc h e t h n i c
for m .)
Mor e
i m por t a n t
t o t h e wor k of a r t a r e t h e
e n e r gi e s ,
t h e
e ffor t s ,
a n d t h e
de e pi n s i gh t s
t h a t c om e fr om t h e a r t -
i s t a s h e wor k s
t h r ough
wh a t h e h a s
e xpe r i e n c e d
i n l i fe .
In t h e m us i c a l wor l d t h e r e i s
Le on t yn e Pr i c e ,
wh o
s i n gs
l i k e a bi r d. A n d t h i s h a s
n ot h i n g
t o do wi t h h e r
c ol or . T h e r e a r e
ot h e r s , l i k e Ma h a l i a
Ja c k s on -wh os e
s i n gi n g you
woul d c a l l B l a c k
s i n gi n g.
I do t h i n k t h e r e i s
a
s om e t h i n g
foun d i n t h e wor k s of t h e B l a c k a r t i s t t h a t
i s a bs e n t i n t h e a r t of ot h e r
pe opl e . La n gs t on Hugh e s
us e d
t ode fi n e t h i s a s
c om i n g
fr om t h e
fol k wa ys ,
fr om t h e
s pe -
c i a l
qua l i t y
t h a t we a s B l a c k
pe opl e
h a ve . B ut I t h i n k
t h a t ,
i n t h e fi n a l
a n a l ys i s , you've got
t oc r e a t e a r t - a r t of
t h e
h i gh e s t pos s i bl e
a e s t h e t i c
l e ve l ,
i n wh i c h
your
m e a n s
a r e wh a t
your goa l s
a r e .
T h e y
a r e
ve r yh i gh l ype r s on a l .
We h a ve a
youn g
m a n
h e r e , Ri c h a r d
Hun t ,
wh o I
t h i n k i s a
gr e a t s c ul pt or .
T h i s m a n i s a n a r t i s t . It h a s
n ot h i n g
t o do wi t h
r a c e ; i t i s t h a t r e a l
s pa r k ,
un fa t h om -
a bl e , a n d
un i de n t i fi a bl e , t h a t i s
de e pl y
fe l t . T h e
powe r
of h i s
s c ul pt ur e
i s un a s s a i l a bl e . Is t h i s
Ne gr o
a r t ? Is i t
don e
by
a
Ne gr o?
It
m a yve r y
we l l be . Wh ok n ows ? It 's
powe r ful , c on vi n c i n g, c om pe l l i n g
a r t . A n d t h i s i s wh a t
I m e a n . It i s n 't
bl a c k , wh i t e ,
gr e e n ,
or
bl ue , but i t 's
gr e a t
a r t .
I t h i n k t h e B l a c k a r t i s t i s fa c e d wi t h t h e
pr obl e m
of
a l m os t
wor k i n g
fr om s c r a t c h . If h e doe s n 't r e s or t t o t h e
t r a di t i on a l s our c e s t h a t a r e
a va i l a bl e , h e 's
got
t o s t a r t
fr om s c r a t c h . A n d t h i s i s
t ough .
If h e wa n t s t o
pr oduc e
a
un i que
a r t for m , h e 's
got
t o
i gn or e e ve r y
ot h e r a r t for m
253
t h a t h a s be e n us e d a s a
s pr i n gboa r d
for ot h e r a r t for m s .
T h i s i s a
t ough job.
I h a ve n 't a n s we r e d
a n y que s t i on s . My que s t i on
h a s
n e ve r be e n s ol ve d
t h r ough out m y
l i fe a n d n e ve r wi l l be .
It 's a c on t i n uous a n d
on goi n g
s e a r c h . B ut t h e s e a r c h m us t
be
qua l i fi e d by
t h i s c on s t a n t a n d
on goi n g e m ph a s i s
on
qua l i t y,
of t h e
h i gh e s t pos s i bl e
l e ve l t h a t
you
c a n a c h i e ve .
MR. B EA RDEN:
T h e y s a y
t h a t a bs t r a c t
e xpr e s s i on i s m -
a c t i on
pa i n t i n g-i s
t h e fi r s t
i n di ge n ous
A m e r i c a n a r t
e xpor t e d,
a n d i m i t a t e d
by
a r t i s t s a l l a r oun d t h e wor l d.
No c r i t i c t h a t I h a ve r e a d h a s e ve r
a l i gn e d
t h i s
s pa r k
wi t h
ja zz
m us i c . B ut t h a t 's t h e
fe e l i n g you ge t
fr om i t :
i n vol ve m e n t ,
pe r s on a l i t y, i m pr ovi s a t i on , r h yt h m ,
c ol or .
Wh a t I'm
t r yi n g
t o
poi n t
out i s t h a t B l a c k c ul t ur e i s
i n vol ve d fa r m or e i n t o t h e wh ol e fa br i c of A m e r i c a n l i fe
t h a n we r e a l i ze . B ut i t i s
up
t o us t o fi n d out t h e c on t r i -
but i on t h a t we h a ve m a de t o t h e wh ol e c ul t ur a l fa br i c
of A m e r i c a n l i fe . No on e e l s e i s
goi n g
t o do i t . I l ook a t
ba s e ba l l a
l ot ;
I s e e a m a n h i t a h om e r un - h e c om e s i n
a n d
s l a ps
t h e h a n d of t h e ot h e r fe l l owwh o's
wa i t i n g
a t
t h e
pl a t e .
T h i s s t a r t e d wi t h
Ne gr oba l l pl a ye r s ,
a n d
e ve r y-
body
doe s i t n ow.
MR. WOO D RUF F: I've h a d l ot s of
a r gum e n t s
on t h e
pa r -
a l l e l a e s t h e t i c s of m us i c a n d of a r t . I a s k e d on e of
m y
fr i e n ds , "Jus t
wh a t i s s o
Ne gr oi d
a bout t h i s
B l a c k ,
s o-
c a l l e d
Ne gr o
m us i c ?" A n d h e s a i d t h a t i t 's t h e l i t t l e di s -
s on a n t n ot e a t t h e e n d of e a c h
pi e c e
t h a t m a k e s t h e
un i que n e s s
of
Ne gr o
m us i c . Wh e n a ba n d wi n ds
up
a
pi e c e , t h e y a l wa ys
wi n d
up
on a m i n or
n ot e ,
e ve n i f
t h e y'r e pl a yi n g
i n a
m a jor
k e y. T h e y
l e a ve
you
t h e r e .
T h a t
s us t a i n e d,
s us pe n de d
m om e n t i s i n t h e m us i c a l
s t yl e ,
i n t h e
l i t e r a r ys t yl e ,
i t 's i n t h e dr a m a
c e r t a i n l y
- t h e i r
t i m i n g
i n dr a m a t i c a c t i on i s
jus t
t e r r i fi c . T h i s i s a
qua l i t y
t h a t i s a l m os t
un e xpl a i n a bl e ,
but i t 's
a l wa ys
i de n t i fi a bl e .
It 's n ot
s om e t h i n g
t h a t a c r i t i c c a n
poi n t
out -"T h a t 's
i t ,
r i gh t
t h e r e ." It 's t h e t ot a l - t h e t ot a l s e n s a t i on t h a t
you ge t .
MR. LLOYD: T h e
t h i n g
t h a t wor r i e s
m e ,
Mr .
Woodr uff,
i s t h a t
you
s e e m t o
s i n gl e
out i n di vi dua l s . Yout a l k a bout
a fe w B l a c k a r t i s t s wh o h a ve m a de i t a n d s o I
ge t
t h e
i de a t h a t
t h e y'r e
s om e s or t of A br a h a m Li n c ol n s .
Pe r h a ps
t h e y
a r e . B ut I don 't t h i n k t h a t 's
a n yt h i n g
t o
poi n t
wi t h
a n y gr e a t pr i de
a bout . I s t i l l m a i n t a i n t h a t B l a c k a r t
s h oul d be
s e pa r a t e .
I fe e l l i k e t h i s i s t h e
on l ywa y
for us
t o m a k e i t .
We we r e
t a l k i n g
be for e a bout
i n s t i t ut i on s ,
a n d s om e -
on e m e n t i on e d t h i s i n s t i t ut i on . I fe e l t h a t t h e Me t r o-
pol i t a n
i s a n i n s t i t ut i on for wh i t e
pe opl e ,
n ot for B l a c k
pe opl e .
So
t h e r e for e ,
i f we 'r e
goi n g
t o be
e qua l
wi t h t h e
wh i t e
a r t i s t ,
wh e r e a r e we
goi n g
t o s h ow? Wh e r e h a ve
we s h own ? Wh a t k i n d of fa c i l i t i e s a r e
ope n
t o us ?Wh a t
ga l l e r i e s
wi l l
a c c e pt
us ? T h e r e a r e n on e t h a t wi l l a n d
n on e t h a t h a ve . Don 't m e n t i on on e or t wo
pe opl e -
I'm
n ot i n t e r e s t e d i n on e or t wo
pe opl e .
I'm i n t e r e s t e d i n t h e
m i l l i on s of B l a c k
pe opl e
wh owa n t t o be a r t i s t s . T h e r e -
for e I m a i n t a i n t h a t t h e r e h a s t o be a B l a c k a r t . T h i s i s
wh a t we
n e e d,
i f i t woul d
pul l
us out of t h i s
t h i n g
h e r e .
We h a ve n 't
got
i t fr om t h e wh i t e c ul t ur a l
powe r
s t r uc -
t ur e .
T h e y
h a ve n 't
gi ve n
i t t o us .
MR. WOODRUFF:
We l l ,
wh e n I m e n t i on a m a n l i k e
Ri c h a r d Hun t i t 's n ot t o
put
h i m on a
pe de s t a l
...
MR. LLOYD: We don 't wa n t a
pe de s t a l .
He 's on e m a n .
MR. WOODRUFF: I'm a vi s ua l
m a n ,
n ot a ve r ba l
pe r s on ,
a n d wh e n I m e n t i on e d Hun t 's
s c ul pt ur e
I wa n t e d t o
s ug-
ge s t
a vi s ua l
i m a ge ,
t om a k e
m y
t a s k a l i t t l e e a s i e r be c a us e
I c a n n ot
e xpl a i n
i n wor ds t h a t wh i c h I
a l wa ys
s e e .
MR. LLOYD: Wh a t I wa n t t o k n owi s i f t h e r e a r e t wo
h un dr e d Ri c h a r d
Hun t s ,
wh e r e a r e
t h e y goi n g
t o s h ow
t h e i r wor k ?
MR. LA WRENCE:
We l l ,
I'l l
go h a l fwa y
wi t h
you,
T om .
I wi l l
s a y
t h a t I'd l i k e t o h a ve t h e
oppor t un i t y
for a
pe r -
s on wi t h t a l e n t t om a k e h i m s e l f i n t oa n a r t i s t a s s uc c e s s ful
a s Ri c h a r d Hun t . B ut I don 't t h i n k
you'l l
e ve r h a ve t wo
h un dr e d Ri c h a r d Hun t s or t woh un dr e d T h om a s
Ll oyds ,
be c a us e
e ve r yon e
i s
jus t
n ot t h a t t a l e n t e d.
MR. LLOYD: No, I m e a n t o
e qua t e
t h e m wi t h t h e t wo
h un dr e d wh i t e a r t i s t s wh oh a ve t h e
oppor t un i t y.
MR. WOODRUFF: T h a t I'l l
buy.
MR. GILLIA M: We 'r e
n e c e s s a r i l ys pe a k i n g
of a
job
for
t h e fut ur e . We 've be e n fe wi n
n um be r ;
t h e
i n jus t i c e
of
t h e wh ol e s oc i a l s i t ua t i on h a s m a de i t s o t h a t we a r e fe w
i n n um be r .
We n e e d n ot
on l y
t o
de ve l op
B l a c k
c r a ft s m e n ,
but
a l s oB l a c k
h i s t or i a n s ,
B l a c k c r i t i c s . We n e e d m or e B l a c k -
own e d a r t
ga l l e r i e s :
l e t 's t a l k a bout
m ovi n g
i n t obus i n e s s
-a r t i s a bus i n e s s . T h i s i s a
t h i n g
t h a t c on c e r n s us . If
we 'r e
l ook i n g
for
wa ys
a r t -or B l a c k a r t -c a n be de ve l -
ope d
wi t h i n a
c om m un i t y,
t h e n l e t 's t a l k a bout a l l t h e
t h i n gs
t h a t a r e
r e a l l yn e c e s s a r y
t o
de ve l op
i t .
Wh y
i s i t
t h a t t h e r e a r e n 't B l a c k h i s t or i a n s or B l a c k
a e s t h e t i c i a n s ,
a s i de fr om
pe opl e
l i k e Ha l e wh oh a ve h a d t o doubl e t o
do t h e
job? Wh y
a r e n 't t h e s e
pr ofe s s i on s be i n g
e n c our -
a ge d
a t B l a c k
c ol l e ge s ? Wh y
c a n 't
pl a c e s
l i k e t h a t m a k e
t h e i r
s pe c i a l r e s pon s i bi l i t yt a k i n g
c a r e of t h e B l a c k h e r -
i t a ge ? T h e y
s h oul d
i n ve s t i ga t e e xa c t l y
wh a t t h e fa c t s a r e :
wh a t we h a ve
a c c om pl i s h e d,
a n d wh e t h e r or n ot we 'r e
goi n g
for wa r d fr om wh e r e we a r e n ow.
MR. LLOYD: I t h i n k t h a t s or t of
pr ogr a m
woul d be
ve r y
i m por t a n t .
I m e n t i on e d a n
or ga n i za t i on
c a l l e d B l a c k Vi s -
ua l
En vi r on m e n t s ,
a n d
pa r t
of t h e
t h i n g
we wa n t t o do
254
i s t o
br i n g
B l a c k a r t -a n d I m e a n B l a c k a r t -i n t o t h e
publ i c
s c h ool s ,
for t h e s e
youn g
B l a c k k i ds t o t a l k t o t h e
B l a c k
a r t i s t s ,
t o
t r y
t o for m s om e s or t of
di a l ogue ,
t o be
t h e r e a n d be
s e e n ,
t os h owt h a t h e 's B l a c k . T h i s i s
i m por -
t a n t t o t h e
youn g
B l a c k k i ds . It 's n e ve r
h a ppe n e d
be for e
a n d I t h i n k t h a t i t 's
i m por t a n t
t h a t i t doe s
h a ppe n .
T h e s e
B l a c k a r t i s t s s h oul d be
pa i d
for i t . I'd a l s ol i k e t o s e e
B l a c k a r t s h ows
t r a ve l i n g
t o t h e
Sout h ,
t oB l a c k
c ol l e ge s ,
t om a k e t h e s e
pe opl e
a wa r e of wh a t 's
h a ppe n i n g
i n B l a c k
a r t
t oda y
-
ok a y,
I'l l
s a y
a r t
t oda y.
MR. GI LLIA M: I'd
e qua l l y
l i k e t os e e s om e of t h os e B l a c k
c ol l e ge s h a vi n g
a n a r t i s t -i n -r e s i de n c e
pr ogr a m .
T h i s k i n d
of
pr ogr a m
woul d be
t e r r i fi c a l l yi m por t a n t ,
be c a us e oft e n
a
pe r s on
s uffe r s be c a us e h i s
e xpe r i e n c e s
a n d i n for m a t i on
a r e l oc k e d i n t oh i s
r e gi on a l
e n vi r on m e n t .
We 'r e
r e a l l yt a l k i n g
a bout a n
upl i ft i n g,
a bout
pr ovi d-
i n g
us wi t h a ba s e of fr e e dom i n
ge n e r a l .
We c a n t a k e c a r e
of bus i n e s s . T h e
i m pa c t
of our t i m e s m a k e s i t
i n di vi dua l l y
i m por t a n t
t h a t we don 't
go
ba c k a n
i n c h ,
a
c e n t i m e t e r ,
but t h a t we m ove on . T h e s e a r e t h e k i n ds of
t h i n gs
t h a t
s h oul d be
pa r t
of our
e xpe r i e n c e s ,
a n d t h a t s h oul d i n di -
c a t e t h e
pa t h s
we s h oul d t a k e .
MR. B EA RDEN: I un de r s t a n d t h e r e 's
goi n g
t o be a
bi g
s h owof B l a c k a r t i s t s
ope n i n g
i n
Mi n n e a pol i s .
Wi l l i a m ,
i f
you
we n t t o t h i s
s h ow,
c oul d
you
l ook a t t h e
pa i n t i n gs
a n d t h e
s c ul pt ur e
a n d fi n d
s om e t h i n g
t h a t i de n t i fi e d t h e
a r t i s t s a s B l a c k ?
MR. WILLIA MS: I've n e ve r s e e n a
pi e c e
t h a t I c oul d
s a y
t h a t a bout
pos i t i ve l y.
I've s e e n a
gr e a t m a n y pi e c e s
I
t h i n k a r e c om m e n da bl e
by
B l a c k
a r t i s t s ,
but I di dn 't
a t t a c h t h a t
s pe c i a l
t i t l e or
s pe c i a l c a t e gor y
t o
t h e m ,
a n d
I don 't t h i n k I e ve r wi l l .
It s e e m s t o m e t h a t i t woul d be fi n e i f a n a r t for m or
a
t h i n g
c oul d be c r e a t e d t h a t wa s s o
un i que l y
B l a c k t h a t
i t wa s n 't
n e c e s s a r y
t o h a ve T om 's
pi c t ur e
i n fr on t of i t .
B ut i t h a s n 't be e n don e . You t a l k a bout t h e n e e d for a
B l a c k m a l e
i m a ge :
wh a t
you'r e r e a l l yt a l k i n g
a bout i s
t h i s
s oc i ol ogi c a l t h i n g.
T h e B l a c k m a l e
i m a ge
i s on e
t h i n g,
but I won de r wh a t
h a ppe n s
t o h i s wor k - or
a n y
wor k -
t e n , fi ft e e n ,
ye a r s
fr om n owwh e n t h e B l a c k m a l e
i m a ge s
a r e n 't
s t a n di n g
i n fr on t of i t a n d
gi vi n g
a wh ol e r un down
a bout wh a t i t 's
a bout ,
wh y
I'm
doi n g i t , wh y
I'm
pa r -
t i c i pa t i n g
i n t h e
c om m un i t y.
If we 'r e
goi n g
t o bui l d a
c ul t ur a l ba s i s t h a t i s r e l e va n t t o t h e B l a c k
c om m un i t y,
i t s h oul d be a c ul t ur a l ba s i s t h a t 's r e l e va n t wh e n T om i s
gon e ,
wh e n we 'r e a l l
gon e , s om e t h i n g
t h a t 's s oe m be dde d
i n
qua l i t y
t h a t i t n ot
on l y
s t a n ds i n Ha r l e m but s t a n ds
a n ypl a c e .
T h a t 's a
goa l
t o s h oot for .
On e of t h e
t h i n gs
t h a t T om 's
a ddr e s s i n g
h i m s e l f t o i s
t h e
n e c e s s i t y,
i n t e r m s of t h e s oc i a l s t r i fe t h a t we 'r e i n
n ow,
t o a s s e r t a l ot of B l a c k
t h i n gs .
I c a n
a gr e e
wi t h t h a t
on on e
l e ve l ,
but on a n ot h e r I m us t t a l k a bout
qua l i t y
a s Mr . Gi l l i a m
h a s ,
a n d wh a t t h e l e ve l of t h e
e xpe r i e n c e
of "B l a c k a r t " wi l l
be ,
a n d wh a t
e xpos ur e
t o i t wi l l do
t e n or fi ft e e n
ye a r s
fr om n ow. If I
e xpos e
fi ve h un dr e d
or s i x h un dr e d k i ds t oB l a c k a r t
n ow,
m yh ope
i s t h a t t h e
B l a c k a r t wi l l be of s uc h a l e ve l t h a t I wi l l be
i n s t i l l i n g
s om e
t ype
of a e s t h e t i c or va l ue s wi t h i n t h os e k i ds t h a t
t h e y
c a n dr a won
ye a r s
fr om n ow.
MR. LLOYD: T h a t 's
good,
but
you
s e e i t h a s n 't
h a p-
pe n e d.
If we 'r e
goi n g
t o a c c e l e r a t e t h a t k i n d of
t h i n g
we h a ve t o do i t n ow.
B e i n g s e pa r a t e
a n d
m a k i n g
B l a c k a r t
m i gh t pos s i bl y
be t h e a n s we r . I'm n ot
s a yi n g
for s ur e i t
i s ,
but I be l i e ve
i t i s . A l l I k n owi s t h a t
n ot h i n g
h a s
h a ppe n e d
i n t h e
pa s t .
It 's a
c h a n ge
t h a t h a s
got
t o
h a ppe n .
MR. B EA RDEN: I c a n 't
a gr e e
wi t h
your a r gum e n t
t h a t
n ot h i n g
h a s
h a ppe n e d
i n t h e
pa s t ,
T om . T wo
ye a r s a go
I we n t t o t h e Gr a n d Ce n t r a l Ga l l e r i e s be c a us e I h a d
h e a r d s o m uc h a bout t h e wor k s of t h i s m a n
He n r y
O.
T a n n e r . I l ook e d a t h i s
pi c t ur e s
a n d I m us t c on c l ude h e
i s on e of t h e t h r e e or four
gr e a t pa i n t e r s
of
A m e r i c a ,
t h e
on l y r e l i gi ous pa i n t e r
wh o i n
m y judgm e n t c om pa r e s
wi t h Roua ul t . T h i s m us e um h a d t woof h i s
pi c t ur e s ,
but
t h e y
s ol d t h e m .
T h e r e a s on
you
c a n h a ve a
pl a c e
l i k e t h e
Me t r opol i t a n
i s t h a t
you
c a n
br i n g
a r t i n t o t h i s
c oun t r ydut y
fr e e . It
wa s a B l a c k
wom a n ,
Edm on i a
Le wi s ,
wh owe n t t o Con -
gr e s s
wi t h W. W.
St or y
a n d a fe wot h e r
a r t i s t s ,
t o h a ve
t h e l a w
c h a n ge d
s oa r t wor k s c oul d c om e i n wi t h out
dut y.
I c oul d
go
on a n d t e l l
you
t h e
t h i n gs
t h a t B l a c k a r t i s t s
h a ve
don e ;
s o don 't
s a y n ot h i n g's h a ppe n e d
-
i t 's
jus t
be e n obs c ur e d.
MR. LLOYD: T h e fa c t a bout t h i s B l a c k wom a n i s
fi n e ,
but t h i s i s s t i l l a wh i t e
m us e um ,
B l a c k
pe opl e
s t i l l don 't
c om e h e r e . Don 't m e n t i on
i n di vi dua l s ,
l i k e T a n n e r . I'd
l i k e t o k n owm or e a bout
h i m ,
but I h a ve n 't h a d t h e
oppor t un i t y
t o l e a r n a bout h i m . I'm n ot a l on e i n t h i s .
Don 't t e l l m e
pr ogr e s s
h a s be e n m a de be c a us e of T a n n e r .
Sur e ,
t h e r e h a s be e n s om e
pr ogr e s s ,
but I wa n t t o k n ow
a bout
t we n t y
T a n n e r s . We 'r e a wh ol e r a c e of
pe opl e ,
a n d
you
k n ow,
wh e n
you
t a l k a bout
on e ,
I k n owt h e r e 's
s om e t h i n g wr on g.
MR. WOODRUFF:
T om ,
wh y
don 't B l a c k
pe opl e
c om e
t o t h i s m us e um ?
MR. LLOYD:
T h e y
h a ve n 't be e n
e xpos e d
t o a r t . T h a t 's
t h e n um be r on e
t h i n g: t h e y
h a ve n 't be e n
e xpos e d
t oa r t .
T h e y
don 't k n owa bout B l a c k
a r t ,
a n d i f
t h e y
di d k n ow
a bout
i t , pe opl e
i n t h e s t r e e t s woul d k n owt h a t B l a c k
a r t i s t s a r e
s h owi n g
h e r e or a t
a n y
ot h e r m us e um . T h a t 's
255
our
fa ul t ,
a n d
pa r t
of
s oc i e t y's
fa ul t .
MR. LA WRENCE: You
k n ow,
t h e r e 's
s om e t h i n g
I c a n 't
un de r s t a n d
h e r e ,
a n d i t
k e e ps bot h e r i n g
m e . It 's a t e r m
t h a t 's be e n us e d ove r a n d ove r
a ga i n ,
"B l a c k a r t ." I don 't
un de r s t a n d t h a t . I t h i n k we
m a y
a s we l l c ut out t h e s e n t i -
m e n t a l s l us h . "B l a c k a r t " m e a n s
m a ybe s om e t h i n g
l i k e
"B l a c k a r t of A fr i c a " or
s om e t h i n g pr oduc e d
i n s om e of
t h e e a r l i e r
da ys
of
A m e r i c a ,
i n s om e of t h e i r on wor k s
t h r ough out
t h e Sout h or
t h i n gs
l i k e
t h a t ,
wh i c h c a m e out
of t h e
e xpe r i e n c e
of a c ul t ur a l
gr oup
of
pe opl e
wh o
h a p-
pe n
t oh a ve be e n A fr i c a n s . He r e i t woul d be m or e c or r e c t
for us t o
s a y
"a r t
by
B l a c k
pe opl e ,"
but n ot "B l a c k a r t ."
MR. LLOYD: Wh e n I
s a y
"B l a c k a r t " I m e a n t h e B l a c k
e xpe r i e n c e
on a t ot a l s c a l e :
be i n g
B l a c k ,
our
h e r i t a ge ,
A fr i c a ,
l i vi n g
i n t h e B l a c k
c om m un i t y.
MR. GILLIA M: It i s a t ot a l
e xpe r i e n c e .
We 've be e n t a l k -
i n g
a bout t h e vi s ua l a r t s be c a us e we 'r e
pa i n t e r s
a n d
s c ul p-
t or s ,
but we m us t r e a l i ze t h a t t h e r e a r e ot h e r for m s of
a r t - t h e a t e r a n d m us i c - t h a t a r e m uc h m or e
c a pa bl e
of
h a vi n g
a de fi n i t e "B l a c k "
pe r s on a l i t y.
We h a ve t o
r e c og-
n i ze t h a t i t 's h i s t ot a l
e xpe r i e n c e
t h a t i n fl ue n c e s wh a t a
pe r s on
doe s . A n d i t
m a y
n ot a ffe c t
on l y
h i m ,
but s om e
ot h e r
pe r s on r e ga r dl e s s
of s k i n c ol or : t h i n k of t h e i n -
fl ue n c e of A fr i c a n a r t on
Pi c a s s o,
for
i n s t a n c e ,
or on
Modi gl i a n i .
We a r t i s t s s h oul d di s c us s
a r t ,
a n d n ot l e a ve i t t o t h e
c i vi l
r i gh t s
wor k e r s or
pol i t i c i a n s .
We h a ve a
fe e l i n g
for
i t ,
a n d we don 't be l i t t l e i t .
MR. LLOYD: We l l ,
be i n g
B l a c k ...
MR. GILLIA M: Is
gr e a t .
MR. LLOYD: I c a n 't
i m a gi n e
a n a r t i s t -a B l a c k a r t i s t -
fun c t i on i n g
wi t h out
k n owi n g
h e 's
B l a c k ,
wi t h out
be i n g
c on c e r n e d a bout wh a t 's
h a ppe n i n g
t o
us ,
wi t h out
be i n g
c on c e r n e d a bout our
ve r y
l i ve s . We 'r e B l a c k . No m a t t e r
wh a t k i n d of wor k
you
do,
you'r e
i n fl ue n c e d
by
a l l t h e s e
t h i n gs .
MR. LA WRENCE: Is t h i s
a l wa ys
e vi de n t
l ook i n g
a t t h e
pe r s on 's
wor k ?
MR. LLOYD:
Ma ybe
n ot . I n e ve r s a i d i t 's e vi de n t l ook -
i n g
a t s om e on e 's wor k . I'm
jus t s a yi n g
i t 's B l a c k a r t .
MR. WOODRUFF: I c a n 't
a gr e e
wi t h t h a t .
MR. B EA RDEN: He 's
c a l l i n g
"B l a c k a r t "
a n yt h i n g
don e
by
B l a c k a r t i s t s .
MR. LA WRENCE: I
jus t
c a n 't s e e h ow
s om e t h i n g
i s
"B l a c k a r t ." Wh a t
you
fi n d a r e s h ows t h a t de a l wi t h
s om e
ph i l os oph y
of a r t -m i n i m a l a r t or t h i s a r t or t h a t
a r t -a n d t h e a r t i s t s i n e a c h of t h os e s h ows wi l l
be l on g
t o
m a n y
e t h n i c
gr oups ,
B l a c k a r t i s t s
a m on g
t h e m .
MR. GILLIA M:
B y gi vi n g
a s h owa k i n d of
s oc i ol ogi c a l
t i t l e ,
you
k n ow,
or a
pol i t i c a l t h e m e ,
you
c a n m a k e i t
a
c om m un i t ye xpr e s s i on .
Look a t t h e
Si xt y-s i x
Si gn s of
Ne on ,
a s h ow
br ough t
fr om
Wa t t s ,
don e
by pe opl e
i n
Wa t t s . Eve n t h e r e t h e
r e i gn i n g
i n fl ue n c e wa s s om e on e
l i k e Ed
Ki e n h ol z,
be c a us e t h i s i s
s om e t h i n g
t h a t 's
pa r t
of t h e Los
A n ge l e s
s c e n e . I t h i n k t h a t i n c e r t a i n a r e a s
you
c a n
s a y
t h a t a r t c a n c oe xi s t wi t h t h e s oc i a l
pr obl e m s .
MR. LLOYD: Ha s i t ? I
m e a n ,
wh a t 's
h a ppe n e d
i n t h e
pa s t ?
MR. GILLIA M: I t h i n k t h e
pa s t
i s
pe r h a ps
m uc h m or e
i m por t a n t
t h a n wh a t i s
goi n g
on n ow. Num be r on e i s
t h e fa c t t h a t
e ve r y
B l a c k a r t i s t t h a t
pa i n t e d
h a s be e n
i n vol ve d wi t h
m y
s i t ua t i on i n A m e r i c a -m e a n d wh a t 's
h a ppe n i n g
a n d c on c e r n for t h e
Ne gr o.
T h i s wa s t h e ove r -
r i di n g
c on s i de r a t i on : wh a t t h e a r t i s t wa s c on c e r n e d
wi t h ,
a n d wh a t I l ook e d for a s a
k i d,
a n d wh a t I de a l t wi t h
wh e n I wa s
pa i n t i n g fi gur a t i ve l y.
B ut l a t e r
on ,
you'r e
a
m a t ur e
a r t i s t ,
m a ybe
a
gr e a t on e ,
i f
you
c a n
pe r s on a l i ze
your s e l f,
m ove fr om i de n t i fi c a t i on wi t h
s om e t h i n g
out -
s i de
your s e l f
t o
your
own
t h i n g.
MR. B EA RDEN: A l ot of t h i s
e xpe r i e n c e
i s k n i t wi t h
i de n t i t y,
i s n 't i t ? For
i n s t a n c e ,
you
we r e
s a yi n g
i n t h e
pr os pe c t us
for
your
s h owt h a t t h e a r t i s t t h a t t ur n s
you
on i s
A gos t i n i . Eve r y
a r t i s t t h a t
you
m e n t i on e d wa s a
wh i t e a r t i s t . Now i f
you
a r e t h i s
c on c e r n e d,
wh y
di dn 't
you s a y
t h a t
Ja k e
La wr e n c e t ur n e d
you
on ?
MR. LLOYD: B ut
Ja k e
La wr e n c e di dn 't t ur n m e on ...
h e di dn 't t ur n m e off e i t h e r .
MR. B EA RDEN:
No,
I'm n ot
s a yi n g
t h a t . I woul d
e xpe c t
t h a t wh e n t h e
youn g
k i d wh owor k e d wi t h
you
h a s a n
e xh i bi t ,
s a y
four or fi ve
ye a r s
fr om
n ow,
i f
you've
don e
your
wor k
r i gh t ,
h e 's
goi n g
t o
s a y
t h a t t h e
t h i n g
t h a t
t ur n e d h i m on wa s t h e
e xpe r i e n c e
h e h a d
wor k i n g
wi t h
T om
Ll oyd.
T h i s i s di ffe r e n t fr om t h e s t a n d
you
t a k e
n ow,
be c a us e
e ve r yon e you
s t udi e d
wi t h ,
t h e
pe opl e
wh o
t ur n e d
you
on ,
a r e a l l wh i t e .
MR. LLOYD:
Ye s ,
t h a t 's
jus t
t h e
poi n t
- t h a t 's t h e
t h i n g
t h a t bot h e r s m e : t h a t t h e r e we r e n 't
a n y
B l a c k
A gos t i n i s
a r oun d. Pa r t of
m y
fun c t i on i s c on c e r n for
m y pe opl e ,
n ot
jus t ge t t i n g
i n a l i t t l e c or n e r a n d
pa i n t i n g
a l i t t l e
pi c t ur e .
MR. B EA RDEN: T h a t 's wh a t we a r e
s a yi n g,
but we 've
m ove d ba c k i n t o t h e
que s t i on
of
i de n t i t y.
It a l l h a s t o
do wi t h t h e a r t i s t .
MR. LLOYD:
Ye s ,
B l a c k
i de n t i t y,
B l a c k a r t . T h a t 's
wh y
I
s a y
"B l a c k a r t ."
MR. GILLIA M: T h e Fr e de r i c k
Dougl a s s
A r t In s t i t ut e i n
Wa s h i n gt on ,
wh i c h s t a r t e d out a s t h e Mus e um of A fr i c a n
A r t ,
put s
A fr i c a n
s c ul pt ur e
s i de
by
s i de wi t h Ge r m a n
e xpr e s s i on i s t pa i n t i n gs , pr i n t s byModi gl i a n i
a n d
Pi c a s s o,
a n d
t h i n gs
l i k e
t h a t ,
a n d
br i n gs
out a s e n s e of
i de n t i t y
256
Ph ot ogr a ph : Re gi n a l d
Mc Gh e e
1 : : -: : i : i
: : : : : : : : : : : : :
,: : : : , : : i -i i : i i j i i i i i i jji t i
: : : :
i i _-- : - -
i i i i i i i i i i i i : -i i i i i
: : : : : : :
L
i :
ve r ys t r on gl y.
I wa n t t o k n owh owT om fe e l s a bout t h i s
k i n d of
t h i n g.
MR. LLOYD: T h a t 's fi n e wi t h m e .
You
k n ow,
s om uc h n e e ds t o be don e . T h e r e h a s t o be
s uc h a t r e m e n dous e ffor t on t h e
pa r t
of t h e B l a c k
a r t i s t ,
on t h e
pa r t
of t h e c ul t ur a l
powe r
s t r uc t ur e . I'm n ot t oo
s ur e ,
Mr .
La wr e n c e ,
t h a t t h e
gove r n m e n t
i s
goi n g
t o
ge t
i n vol ve d wi t h t h e B l a c k
a r t i s t ;
t h e
gove r n m e n t
i s n 't
go-
i n g
t o
gi ve you s om e t h i n g
wh e n
you'r e goi n g
t o t ur n
a r oun d a n d h ur t t h e m wi t h wh a t we c r e a t e .
MR. WOODRUFF: I t h i n k t h e r e a l
t h i n g
t h a t 's
buggi n g
T om i s
ve r y
e vi de n t . We wa n t t h e s e door s
ope n
s o t h a t
t h e
Ne gr o,
t h e B l a c k
m a n ,
c a n m ove i n a n d s h a r e a n d
s h a r e a l i k e . B ut t h e
t opi c
we 'r e
di s c us s i n g
i s t h e a e s t h e t i c
pr obl e m s
t h a t t h e B l a c k a r t i s t fa c e s .
MR. LA WRENCE: I t h i n k we n e e d a de fi n i t i on of a e s -
t h e t i c s . A r e we
t a l k i n g
a bout
s pa c e ,
l i n e , for m ,
or s om e -
t h i n g
m uc h m or e br oa d a n d
a bs t r a c t -"e xpe r i e n c e "
or
s om e t h i n g
l i k e t h a t ?
MR. WOODRUFF:
We l l ,
I us e d t h e t e r m be c a us e t h e
ph r a s e
"B l a c k a r t " s e e m s t o
s ugge s t s om e t h i n g
t h a t i s
di ffe r e n t i n i t s s t r uc t ur e a n d i t s for m a l m a n i fe s t a t i on .
We 've be e n
m a k i n g
di ffe r e n t i a t i on s i n t e r m s of e c on om -
i c s ,
s oc i a l
i m pa c t , ga l l e r y
fa c i l i t i e s ,
m us e um s
be i n g
c l os e d
t o B l a c k
a r t ,
a n d s o
for t h ,
a n d I t h i n k t h i s s h oul d be
c on s i de r e d i n t e r m s of wh e t h e r t h e a r t
r e a l l y
doe s h a ve
s om e
pa r t i c ul a r , s pe c i a l
for m .
MR. HUNT :
We l l ,
"t h e a e s t h e t i c s of B l a c k a r t " i s a
pr ob-
l e m I
r e a l l y
don 't a ddr e s s
m ys e l f
t o,
i n e i t h e r
m y
wor k
or
m y t h i n k i n g.
T h e
pr obl e m
of t h e
Ne gr o
i n t e r m s of
t h e
c on t e m por a r y
s i t ua t i on i n a r t -
s h owi n g
i n m us e um s
a n d
ga l l e r i e s
a n d a l l t h os e
t h i n gs
-s e e m s t o be m or e or
l e s s t i e d
up
wi t h t h e
pr e va i l i n g
c ur r e n t s i n a r t i t s e l f. For
i n s t a n c e ,
a n a r t i s t wh o's
wor k i n g
wi t h
k i n e t i c ,
l i gh t ,
or
m i n i m a l
t h i n gs m i gh t
h a ve a be t t e r c h a n c e of
br e a k i n g
i n t ot h e s c e n e t h a n
s om e body
wh o's
pa i n t i n g fi gur a t i ve l y.
A l l t h e s e
t h i n gs
don 't
r e a l l y
s e e m t h a t m uc h di ffe r e n t
fr om t h e
pr obl e m s
t h a t wh i t e a r t i s t s or
a n y
ot h e r k i n ds
of a r t i s t s h a ve . T h e r e a r e c e r t a i n k i n ds of s oc i a l bi a s e s on
t h e
pa r t
of s om e of t h e e s t a bl i s h m e n t
pe opl e
t h a t
you
m e n t i on e d t h a t
m i gh t
i n fl ue n c e
t h i n gs ,
but
you
k n ow,
I
r e a l l y
don 't t h i n k t h os e
t h i n gs
a r e a l l t h a t
i m por t a n t .
I don 't
r e a l l y
l i k e t o
go
i n t o
de fi n i t i on s ,
but i n t e r m s of
m y fe e l i n g
a bout
m y r e l a t i on s h i p
t o
m y
a r t I s or t of
s e p-
a r a t e i t fr om
m y
l i fe a s a B l a c k m a n i n A m e r i c a . Gi ve n
I'm a B l a c k m a n i n
A m e r i c a ,
I l i ve fr om
da y
t o
da y
a n d
t a k e
t h i n gs
a s
t h e y
c om e . In t e r m s of
m y
wor k ,
I h a ve a
c e r t a i n k i n d of i de a l t h a t I wa n t t o a t t a i n a n d I fi n d
m y-
s e l f
be i n g
a bl e t o do t h a t a s a B l a c k m a n i n A m e r i c a a n d
l i vi n g
i n a B l a c k
c om m un i t y.
A s Ha l e wa s
t a l k i n g
a bout
t h i n gs
t h a t c h a r a c t e r i ze
B l a c k
a r t ,
a n d a r t
gr owi n g
out of t h e
s oi l ,
i t c a m e t o
m y
m i n d t h a t I'm k i n d of
r e gi on a l i s t .
I c om e fr om
Ch i c a go
a n d I l i k e
l i vi n g
t h e r e .
Li s t e n i n g
t o T om 's
de s c r i pt i on
of l i fe
h e r e ,
I fe e l
l uc k y
t h a t I wa s bor n i n
Ch i c a go
a n d
h a ve n 't h a d t o c on t e n d wi t h t h e s or t of
pr obl e m s
t h a t
e xi s t h e r e . I c om e fr om a r ur a l
ba c k gr oun d: m y
fa t h e r 's
fr om t h e r ur a l
Sout h ,
m y
m ot h e r 's fr om t h e r ur a l Mi d-
we s t . I r e m e m be r t h e
t h i n g
t h a t
i m pr e s s e d
m e a bout
vi s i t i n g m y
fa t h e r 's r e l a t i ve s i n
Ge or gi a ,
on e t i m e wh e n I
wa s a
k i d,
wa s t h a t
t h e y
h a d s om e l a n d t h a t
t h e y
c l e a r e d,
a n d
t h e y
t ook t h e
l ogs
t o t h e s a wm i l l a n d bui l t t h e i r
h ous e out of t h e m . It 's k i n d of n i c e
t h i n k i n g
a bout h ow
m y
un c l e c oul d doa l l t h a t
s t uff;
I t h i n k a bout
t h i n gs
l i k e
t h a t - a n d
m a ybe
t h i s i s wh a t T om i s
t a l k i n g a bout ,
be i n g
a bl e t o
i de n t i fy
wi t h
pos i t i ve
m a l e
i m a ge s .
It 's l i k e t h e
t h i n gs you
r e a d a bout
pi on e e r s doi n g.
Of c our s e
t h e y
we r e
l i vi n g
i n
Ge or gi a , s e gr e ga t e d
a n d
a l l ,
but a t t h e
s a m e t i m e
t h e y
c oul d e xe r c i s e t h i s
a bi l i t y
t om a k e
t h i n gs .
I s e e
m ys e l f
a s a
s c ul pt or
a s
be i n g
a
pe r s on m a k i n g t h i n gs .
I
m a y
n ot m a k e a s
good
a
s c ul pt ur e
a s I wa n t t o
m a k e ,
but t h os e a r e
m y
l i m i t a t i on s ,
n ot h i n g
e ve r c om e s out
e xa c t l y
t h e
wa yyou
wa n t i t . A t t h e s a m e t i m e I fe e l l i k e
I c a n do
a n yt h i n g
I wa n t t odo. T h a t h a s t odowi t h fa m -
i l y e xpe r i e n c e s
a n d s c h ool
e xpe r i e n c e s .
I h a d
Ne gr o
a r t
t e a c h e r s -Mr .
Joh n s on ,
Mr s . Cur r i n -wh o
e n c our a ge d
m e a n d
ur ge d
m e t o
go
on t o t h e
Ch i c a go
A r t In s t i t ut e .
T h e n I h a d ot h e r i n s t r uc t or s wh owe r e wh i t e a n d
t h e y
e n c our a ge d
m e t oo.
It 's a c om bi n a t i on of
t h i n gs .
I don 't s e e h owa
Ne gr o
i n
A m e r i c a ,
e ve n wi t h
s e gr e ga t e d
s i t ua t i on s ,
c a n
e s c a pe
h a vi n g
i n fl ue n c e s t h a t c om e fr om h i s
fa m i l y,
fr om h i s
ba c k gr oun d
i n t h e
gh e t t o
or wh e r e ve r h e
h a ppe n s
t o
be ,
fr om h i s for m a l
e duc a t i on ,
fr om h i s
e xpos ur e
t o t h e a r t s .
T h e
t h i n g ge t s pr e t t y
m uc h m i xe d
up,
a n d t h e i de a of
s e pa r a t i n g
out t h e s e
e xpe r i e n c e s , good
or
ba d,
B l a c k or
n ot ,
s e e m s s om e t i m e s r a t h e r us e l e s s a n d s om e t i m e s r a t h e r
t i r e s om e .
MR. LLOYD:
We l l ,
I don 't t h i n k s o. You k n owwh a t I
t h i n k ,
Mr .
Hun t ,
i s t h a t
you
a r e a c on di t i on e d B l a c k
m a n . I t h i n k
you
a r e obl i vi ous t o wh a t 's
h a ppe n i n g.
MR. GILLIA M:
T om ,
I t h i n k
you'r e a c t i n g
m or e for t h e
c on di t i on s ...
MR. LLOYD: T h a t
m a y
be
s o,
but I've
got
t o
s a y
wh a t
I t h i n k .
MR. HUNT : T h a t 's
pe r fe c t l y
a l l
r i gh t .
MR. LLOYD: T o m e
you
don 't s e e m l i k e a m a n c on -
c e r n e d wi t h B l a c k
pe opl e ,
wi t h B l a c k
k i ds ,
wi t h B l a c k
c ul t ur e . I don 't t h i n k t h a t e n t e r s i n t o
your fe e l i n gs .
A n d
t h a t bot h e r s
m e ,
t h a t bot h e r s t h e h e l l out of m e . You
258
k n ow,
wh e n I t h i n k of a n
a r t i s t ,
I t h i n k of a B l a c k
a r t i s t ,
n ot a B l a c k wh i t e a r t i s t or s om e on e wh oh a s
gi ve n
i n t o
t h i s k i n d of
c on di t i on i n g
t h a t t h e wh i t e
pe opl e
h a ve
put
us i n . I h a ve c h i l dr e n a n d I wa n t t h e be s t for
t h e m ,
a n d
i f
t h e y
wa n t t o be
a r t i s t s ,
I wa n t t h e m t o h a ve t h e s a m e
k i n d of
e xpos ur e a n y
ot h e r k i d h a s .
T h e y
don 't h a ve i t
n ow,
s o I'm
goi n g
t o m a k e s ur e m i n e do. I
c a r e ,
I c a r e
a bout
m y pe opl e
a n d I t h i n k t h i s i s wh a t
e ve r y
B l a c k
a r t i s t h a s
got
t o do.
MR. GILLIA M: It 's e r r on e ous t o
pr e s uppos e
t h a t a
pe r -
s on wh odoe s n 't fol l owa c e r t a i n
ph i l os oph y
a l l t h e
wa y
doe s n 't c a r e a bout h i s r a c e or h i s k i ds . We 'r e a l l
ba dge r e d
by
t h e s e
t h i n gs ...
MR. LLOYD: B ut t h i s i s t h e t i m e for us t o
jum p
i n a n d
br i n g c h a n ge s
a bout ,
m a k e
t h i n gs h a ppe n .
A n d h a ve
s om e
i de n t i t y
wi t h our own
doggon e pe opl e .
MR. WILLIA MS: It 's a l s ot h e t i m e t o
di s t i n gui s h
r h e t -
or i c fr om r e a l fa c t s .
MR. LLOYD: I k n owwh a t r e a l fa c t s
a r e ,
I k n owwh a t 's
h a ppe n e d
i n t woh un dr e d
ye a r s .
MR. WILLIA MS: I t h i n k t h a t we 'r e a l l t oo
s oph i s t i c a t e d
t o
a c c e pt e a s i l ye ve r yt h i n g you'r e s a yi n g,
but I a s s um e
t h os e fa ul t s a r e
your
own ,
your
own
wa y
of
goi n g
a bout
wh a t
you'r e doi n g.
I a s s um e t h a t 's t h e
wa y
h e -Mr . Hun t -s h oul d
go
a bout
i t ,
a n d t h a t i t 's wor k e d
ve r y
we l l - h e 's c r e a t e d a
t h i n g
t h a t i s
un i que l y
be a ut i ful . B ut i n
m y
own
c a s e ,
I
fi n d i t
ve r y
h a r d i n de e d t o t h i n k of
m ys e l f
i n t e r m s of
doi n g
B l a c k
a r t ,
be c a us e i t be c om e s s uc h a n
a n on ym ous
t h i n g.
I fi n d t h a t I'm m or e
h un g up
i n
m y
own fr us t r a -
t i on s a n d
m y
own
e go
t h a n
a n yt h i n g
e l s e . Wh e n I'm
doi n g m y
own
t h i n g,
I k i n d of
go
a bout
doi n g
wh a t I'm
doi n g,
a n d
h ope ful l y
I c a n
s e pa r a t e m yda i l y
fr us t r a t i on s
on t h e s ur fa c e l e ve l fr om wh a t I'm
doi n g. Obvi ous l y
you'r e doi n g i t , T om ,
or e l s e
you
woul dn 't be
wor k i n g
wi t h
l i gh t s .
Wh a t I'm
t r yi n g
t o
s a y
i s t h a t t h e r e a r e t wo
l e ve l s t h a t
a n y
m a n t h i n k s
on ,
wh e t h e r
bl a c k ,
gr e e n ,
or
ot h e r wi s e . If a n a r t i s t - a
s c ul pt or ,
m us i c i a n ,
or wh a t e ve r
- i f a n a r t i s t
ge t s
s o
h un g up
i n s oc i a l c on di t i on s a n d i n
wh a t 's
h a ppe n i n g
t o
h i m ,
h e wi n ds
up
i n
s om e t h i n g
I
c a l l r h e t or i c .
MR. LLOYD: T h a t 's n on s e n s e .
MR. WILLIA MS: Rh e t or i c t o m e i s a
poi n t
wh e r e on e
ge t s
s oi n vol ve d t h a t h e 's n ot
goi n g
for wa r d,
h e 's s t a n d-
i n g
s t i l l . I'm n ot
c on de m n i n g
wh a t
you'r e doi n g;
I'm
s a yi n g
t h a t we 'r e a t a
ve r yda n ge r ous poi n t .
It s e e m s t o
m e t h a t t h e wor k of t h e a r t i s t a t t h i s
poi n t
i s t o di s t i n -
gui s h
wh a t 's r h e t or i c a n d wh a t 's
pr ogr e s s
a n d wh a t 's fa c t .
A r t
by
n a t ur e i s a n a r i s t oc r a t i c
t h i n g
...
MR. LLOYD: Wh a t ?
MR. WILLIA MS: A r t h a s be e n
h i s t or i c a l l y-h i s t or i c a l l y
i n t h e We s t e r n s e n s e - a r i s t oc r a t i c .
MR. LLOYD: T h a t 's be e n t h e t r oubl e wi t h our c ul t ur e .
MR. WILLIA MS: If
a bout
br i n gi n g
i n a n
Ea s t e r n k i n d of
ph i l os oph y
of
a r t ,
t h e n i t doe s be c om e
k i n d of a n
a n on ym ous t h i n g.
B ut I don 't t h i n k
a n y
of us
a r e
wi l l i n g
t o do t h a t . We 'r e s t i l l
de a l i n g
wi t h a r t i n a
We s t e r n
s e n s e ;
we 'r e n ot
wi l l i n g
t o
gi ve
i t
up
a n d
go
i n t o
a
s pe c i a l t h i n g.
SoI t h i n k
you
h a ve t o
k e e p
t h a t i n m i n d
wh e n
you
c on de m n s om e on e .
MR. LLO YD: I'm
c on de m n i n g
a wh ol e l ot of
pe opl e .
MR. B EA RDEN: I wa n t t o s um t h i s
up. T om ,
wh a t I
t h i n k
you'r e s a yi n g
i s t h a t
you
fe e l t h e e n t i r e t r a di t i on
of We s t e r n a r t i s k i n d of
e m pt y
n ow;
you
t h i n k we m us t
de ve l op
a c e r t a i n c ul t ur a l
ph i l os oph y
for t h e B l a c k a r t i s t .
T h i n gs ,
a s
t h e y
e xi s t
n ow,
m us t be a t t a c k e d on di ffe r e n t
l e ve l s -
e c on om i c , s oc i a l ,
pe r h a ps
e ve n
pol i t i c a l .
Now,
i n
t h i s
s t r uggl e ,
i n t h e c i vi l
r i gh t s m ove m e n t ,
ve r y
l i t t l e a t -
t e n t i on h a s be e n
gi ve n
t ot h e c ul t ur a l n e e ds of t h e
pe opl e .
So n owl e t 's c on s i de r h owt h e B l a c k a r t i s t r e l a t e s t o t h e
c i vi l
r i gh t s
m ove m e n t . Howdoe s
h e ,
or h i s
wor k ,
or h i s
ph i l os oph y,
r e l a t e t ot h e s e
pr e s s i n g pr obl e m s
of t h e B l a c k
pe opl e
i n t h i s
c oun t r y?
MR. LA WRENCE:
We l l ,
I t h i n k
you
c a n r e l a t e i n
a n y
n um be r of
wa ys ,
a n d t h e i n di vi dua l a r t i s t h a s t o s ol ve i t
i n h i s own
wa y.
He
m a ypa r t i c i pa t e t h r ough
t h e c on t e n t
of h i s
wor k ,
or
by don a t i n g
a
pi e c e
t h a t h a s n o
s pe c i fi -
c a l l y
r e l e va n t c on t e n t . I k n owt h a t we a l l r e l a t e t o t h e
c i vi l
r i gh t s
m ove m e n t ,
a n d we a l l m a k e c on t r i but i on s .
We
gi ve
be c a us e we wa n t t o
gi ve .
It 's a n obvi ous
wa y
of
h e l pi n g,
n ot a
s pi r i t ua l
on e ,
but i t 's a
wa y
t h a t h a s a n
i m m e di a t e ,
de fi n i t e be n e fi t .
MR. WOODRUFF: Le t m e
s a y
t h a t I've
a l wa ys
fe l t t h a t
on e of t h e
t h i n gs
t h a t we l a c k i n t h e B l a c k wor l d
ge n e r -
a l l y,
n ot
on l y
i n t h e vi s ua l
a r t s ,
i s c r i t i c a l
s c h ol a r s h i p.
T h a t c oul d do s om uc h for t h e s i t ua t i on T om i s
t a l k i n g
a bout . Cl e m e n t
Gr e e n be r g,
for
i n s t a n c e ,
jus t
a bout m a de
Ja c k s on Pol l oc k ,
a n d t h e r e a r e
m a n y
ot h e r s uc h i n s t a n c e s .
We n e e d a wr i t e r t o m a k e us k n own . We h a ve n o on e
wh o c a n us e t h e wr i t t e n wor d
e xc e pt your s e l f,
Rom i e ,
a n d
you'r e
a
pa i n t e r ba s i c a l l y. Sc h ol a r s h i p
fr om our c ol -
l e ge
m e n a n d ot h e r s h a s
gon e
i n t o t h e s oc i a l m ove m e n t
a n d c i vi l
r i gh t s .
Look a t
your ja zz
c r i t i c s ,
t h e y'r e
wh i t e ,
a n d m os t of
your
dr a m a c r i t i c s a r e wh i t e . Eve n
your
wr i t e r s ,
l i k e B a l dwi n a n d s o
on ,
a r e n 't c on c e r n e d wi t h
us . Som e
ye a r s a go
t h e s e B l a c k wr i t e r s we r e i n Pa r i s a n d
t h e Pa r i s
pr e s s
we n t t o t h e m a n d
s a i d, "Now,
we k n ow
a bout
your
wr i t e r s ;
wh a t i s t h e
Ne gr o
a r t i s t
doi n g?"
A n d
t h os e fe l l ows c oul dn 't
s a ya n yt h i n g-
"I don 't k n ow
a n y
Ne gr o
a r t i s t s "-a n d
t h e y
c oul dn 't a n s we r t h e
que s t i on .
259
I be l i e ve t h a t we n e e d s om e on e t o
c r i t i c a l l y
a n d k n owl -
e dge a bl y
a s s e s s our c om bi n e d a r t i s t i c e ffor t s . T h e r e a r e
fe w
Ne gr oe s
wh o do
t h i s ,
but t h a t
s c h ol a r s h i p
i s wh a t
we n e e d.
A n d I do t h i n k t h e r e s h oul d be a c om m un a l
fe e l i n g
a m on g
t h e B l a c k
a r t i s t s ,
wh e t h e r or n ot we
pa i n t
or t h i n k
a l i k e ,
or wh e t h e r we s i t down a n d be e f l i k e we 'r e
doi n g
t oda y.
Wh e t h e r we m e e t
r e gul a r l y
or wh e t h e r we
jus t
bum p
i n t o e a c h ot h e r i n a
ba r ,
I t h i n k t h i s i s
n e c e s s a r y,
i n or de r t o
pr e s e n t
wh a t I woul d c a l l a k i n d of un i t e d
fr on t . Wh e n we
t r y
t o
fi gh t
t h i s ba t t l e
s i n gl e h a n de dl y
we 'r e
l os t ,
we 'r e n ot e ve n
up
t o ba t . You
k n ow,
you
n e e d
a t e a m t o wi n a ba l l
ga m e ; you
c a n 't do i t wi t h s a n dl ot
t e c h n i que s .
T h i s h a s t odoi n a
ve r yobl i que wa y
wi t h t h e s o-c a l l e d
c ul t ur a l
m ove m e n t ,
be c a us e un t i l t h e
Ne gr o
i n Ha r l e m
fi n a l l yge t s
a de c e n t
pl a c e
t o l i ve a n d food i n h i s
be l l y,
m a ybe
h e 'l l h a ve n o t i m e t o
go
l ook a t our
pi c t ur e s .
So
t h e r e for e t h e wh ol e r e vol ut i on i s i n t e r t wi n e d.
B ut wh a t I s e n s e i s t h e
gr e a t
n e e d i s t o h a ve a m a n
wh o
poi n t s
out t o
ga l l e r i e s
a n d m us e um s t h a t t h i s a r t i s t
i s a
good
on e a n d
you
s h oul d h a ve h i s wor k .
MR. WILLIA MS: A ft e r
t h a t ,
I don 't k n ow i f t h e r e 's
a n y-
t h i n g
I c a n
s a y.
I
t ot a l l ya gr e e
wi t h t h e i de a of
un i t i n g
e ffor t s wi t h ot h e r
a r t i s t s ,
wh i c h i s
r e a l l y, r e a l l yn e c e s s a r y.
I don 't k n owa bout ot h e r
c i t i e s ,
but i n Ne w Yor k I fe e l
a n e n or m ous
s e pa r a t i on
be t we e n t h e wr i t e r s a n d t h e
po-
e t s a n d t h e
pa i n t e r s
-
pe opl e
a r e k i n d of i s ol a t e d i n t h e i r
own c or n e r s .
A s for t h e c i vi l
r i gh t s s t r uggl e ,
i t 's
ve r y
h a r d t o di s -
t i n gui s h
wh a t
you,
on a
pe r s on a l l e ve l ,
c a n do.
Myfe e l i n g
i s "di ffe r e n t s t r ok e s for di ffe r e n t fol k s ." I k i n d of t a k e i t
a s i t c om e s a n d
h ope
t h a t I'm
doi n g
t h e
pr ope r t h i n g
a t
t h e
pr ope r
t i m e .
MR. GILLIA M: Of c our s e t h e r e a r e "di ffe r e n t s t r ok e s for
di ffe r e n t fol k s " - s om e a r e
r e vol ut i on i s t s ,
s om e a r e s oc i a l
c h a n ge r s ,
s om e a r e
pol i t i c i a n s .
I woul d
s a y
t h a t wh a t we
s h oul d
h e l pde ve l op
i s a n a wa r e n e s s of
h i s t or y
a n d a br oa d
c ul t ur a l
e xc h a n ge ,
a n d s e t
up
t h e k i n d of i n s t i t ut i on s t h a t
woul d
pr ovi de
t h e k i n d of e duc a t i on a l
e xpe r i e n c e s
t h a t
woul d
vi s ua l l y
or i e n t
pe opl e
a n d m a k e us a wa r e of our
t ot a l r ol e .
MR. HUNT : I c a n
on l y
s e c on d t h a t .
MR. WILLIA MS: Ca n we
a dd, a l s o,
t h a t t h e r e s h oul d
be s om e
i n t e r c i t y
c om m un i c a t i on a s we l l .
MR. LLOYD: I'm
jus t
a l i t t l e s h oc k e d be c a us e I t h i n k
our r ol e a s B l a c k a r t i s t s i s
r i gh t up
t h e r e i n t h e fr on t
l i n e a n d we h a ve n 't be e n
t h e r e ,
we h a ve n 't e ve n be e n
h e a r d of.
MR. LA WRENCE:
Now,
you s pe a k
for
your s e l f,
n ot for
m e - I've be e n t h e r e
t h i r t yye a r s , you
k n ow.
MR. LLOYD: I'm
t a l k i n g
a bout
un i t y,
I'm n ot
t a l k i n g
a bout on e a r t i s t
goi n g
t h a t
wa y
a n d
doi n g
h i s
t h i n g.
I
t h i n k we s h oul d be
m a r c h i n g,
I t h i n k we s h oul d do
a n y-
t h i n g.
T h i s i s
pa r t
of our
l i fe ;
t h i s c i vi l
r i gh t s t h i n g
i s a
s t r uggl e
t h a t h a s a l ot t o dowi t h
us ,
a n d we h a ve n 't
pa r -
t i c i pa t e d
i n i t a t a l l . I t h i n k t h a t 's s h a m e ful . We 'r e n ot
i n t e r e s t e d i n t h e
pol i t i c a l
l i fe i n t h e
c i t y,
t h e c i vi l
r i gh t s
s t r uggl e .
We 'r e
jus t
de a d a n d
you
k n owwe 'r e n ot
m ovi n g.
MR. LA WRENCE:
Ma ybe you'r e
n ot
m ovi n g.
MR. LLOYD: We l l , I'm
gl a d you'r e m ovi n g.
MR. B EA RDEN: I fe e l t h a t t h e a r t i s t h a s t o s e r ve a m ove -
m e n t t h e be s t
wa y
h e c a n do i t . Now we h a ve a m a n
h e r e ,
ol de s t
a m on g us ;
I don 't t h i n k
a n yon e
h a s don e
m or e t h a n h e a n d h e 's don e i t wi t h h i s wor k . I'm n ot
s a yi n g
t h i s i s t h e
on l ywa yyou
c a n do
i t ,
but h i s wor k s
i n s pi r e d
m e a s a k i d. T h i s wa s a
c on t r i but i on ,
a n d a l l of
us a r oun d t h i s t a bl e
h ope
we a r e
m a k i n g
a c on t r i but i on .
Ma ybe
we c a n 't a l l
go
out a n d m a k e
pos t e r s ,
but we
c a n
de ve l op
our t a l e n t s i n t h e be s t
wa y
we c a n .
MR. LLOYD: I
jus t s a y ge t
out a n d be
c on c e r n e d,
a n d
we 'r e n ot c on c e r n e d. If we
a r e ,
we h a ve n 't l e t our c on -
c e r n be k n own .
MR. B EA RDEN: Le t 's s um t h i s
up. Ja c ob
i n di c a t e d t h a t
i n t h e c i vi l
r i gh t s
m ove m e n t t h e a r t i s t s h oul d do a l l h e
c oul d,
i n h i s
wa y,
t o a s s i s t t h e
de ve l opm e n t
a n d l i be r a -
t i on of t h e
pe opl e .
Ha l e i n di c a t e d c r i t i c i s m a n d s c h ol a r -
s h i p,
t o fur t h e r wh a t t h e B l a c k a r t i s t wa s
t r yi n g
t o
do,
wa s
s om e t h i n g
wh i c h h a d be e n
l a c k i n g.
I t h i n k bot h Sa m
a n d Wi l l i a m fe l t t h a t e a c h a r t i s t h a d a c om m i t m e n t t o
t h e
s t r uggl e ,
but t h i s wa s
s om e t h i n g
h e h a d t o do i n t h e
be s t
wa y
h e c oul d. I t h i n k Ri c h a r d
a gr e e d
t o t h a t t oo.
T om fe l t t h a t t h e
s t r uggl e
for B l a c k l i be r a t i on wa s a l l -
e m br a c i n g
a n d t h a t we a l l h a d t o
ge t
i n t h e r e a n d
pi t c h ,
do wh a t e ve r wa s
n e c e s s a r y
t o a dva n c e t h e
s t r uggl e .
In t h e di s c us s i on we 've h a d
t oda y
we 've c ove r e d
m a n y
pr obl e m s .
We 've
pos e d pr obl e m s . On l y
t i m e a n d
h i s t or y
wi l l offe r a s ol ut i on . I t h i n k we h a ve m a de a va l ua bl e
c on t r i but i on h e r e . It 's
s om e t h i n g
t h a t m or e a r t i s t s
e ve r y-
wh e r e n e e d t o do.
260
Ph ot ogr a ph : Re gi n a l d
Mc Gh e e
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EEa i i ;l ? i i i i i 111r g I" i i r
1
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: : --: : : : -
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II 1 2
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T h e
Me tropolitan
Mu s e u m of A rt:
C u ltu ral P ow e r in a T im e of C ris is
BA R R Y N. S C H WA RT Z Mr. Sch w artzis am e m be r
of
th e
f acu lty of
th e Sch oolof Hu m anitie s and
SocialScie nce atP ratt
Ins titu te ,
and h as
s e rve df or
tw o
ye ars
as th e Dire ctor
of
Edu cational
P lanning of
th e C e ntral
Brooklyn
Ne igh borh ood
C olle ge ,
a
f re e
s ch ool
f orBe df ord-Stu yve s ant
re s ide nts . His
e s s ay of e rs
s om e
s u gge s tions
as one
approach
tow ard ne w
re lations h ips
be tw e e nth e Mu s e u m
and th e com m u nitie s it s e rve s
IT IS EST IMA T EDth at
by I975,
s ix
ye ars
f rom
now ,
h ave th e
participation
of th e
com m u nity
if th e s e ne e ds
h alf of th e e ntire
popu lation
of Ne w York
C ity
w ill be are tobe s atis f ie d.
non-w h ite .
P re s e ntly
h alf of th e ch ildre n
atte nding
Ne w T o th is e nd th e Mu s e u m s h ou ld s e t
u p com m u nity
York
C ity's pu blic
s ch ools are P u e rtoRicanor A f ro-
advis ory
boards in
gh e tto
are as ,
com pos e d
of
ge nu ine
A m e rican. Ye t
only re ce ntly
h as T h e
Me tropolitan
Mu -
com m u nity
le ade rs ,
practicing
artis ts and craf ts m e nw h o
s e u m of A rt
be gu n
to
apprais e
its
re lations h ip,
orlack of re s ide w ith inth e
are a,
and m e m be rs of variou s
ne igh bor-
one ,
w ith th e
s u rrou nding
com m u nitie s it
s ays
it
h ope s
h ood
organizations .
It w ou ld be th e ir
job
to articu late
tos e rve .
w ays
th e Mu s e u m cans e rve citize ns w h odonot
norm ally
If T h e
Me tropolitan
Mu s e u m of A rtis to
prove
re le - de rive be ne f itf rom th e Mu s e u m 's e f f orts ,
tow ork w ith
vanttoBlack and
Spanis h -s pe aking
citize ns it m u s talte r th e Mu s e u m in
cre ating
ide as f orne e de d and
m e aningf u l
its traditional
conce ptions
of its e lf in
re s pons e
toth e cu l-
program s ,
and tos e rve as af e e dback m e ch anis m f orth e
tu ralne e ds of
gh e tto
re s ide nts .
(i) C ontinu ing
and viable e valu ationof
program s
condu cte d w ith inth e com m u -
re lations h ips
be tw e e nth e Mu s e u m and Black and
Span- nity.
T h e
advis ory
boards s h ou ld be involve d inallMu -
is h com m u nitie s w ill h ave to be e s tablis h e d.
(2)
T h e s e u m activitie s in th e ircom m u nitie s f rom
ince ption
to
Mu s e u m w ill h ave to
e nlarge
its
conce pts
of h ow toe x-
com ple tion
as
planne rs
w h o
s u gge s t
th e conte ntand f orm
h ibit.
(3)
Ne w crite riaw ill h ave to be
applie d
in th e of Mu s e u m
f u nctions ,
and not as cons u ltants to
h e lp
in-
ju dgm e nt
of w h attoe xh ibit.
(4)
T h e Mu s e u m w illh ave s u re th e s u cce s s of w h atth e Mu s e u m w ants todo. T h e
to
e xpand
its s e rvice s into
m any
ne w are as .
Mu s e u m , th rou gh
its
advis ory
boards ,
cou ld be com e a
com m u nity
ins titu tion.
Involve m e nt in th e
C om m u nity,
or
C om m u nity
Involve m e nt? T o Exh ibit Is a Ve rb
T h e
typical
involve m e ntof ins titu tions in th e
gh e tto
is T h e
Me tropolitan
Mu s e u m of A rtm u s t
be gin
to th ink
ch aracte rize d
by
an
e nth u s ias m -f ru s tration-h os tility s yn-
of its e lf as an
activity,
not
only
as a s tru ctu re . Gh e tto
drom e ,
and th e
Me tropolitan
Mu s e u m w ou ld dow e ll to re s ide nts trave lle s s th anth os e in m iddle - and
u ppe r-
avoid th e m is take s of oth e rs . One cannotw ork s u cce s s - clas s
ne igh borh oods ,
and w h at
h appe ns
f ora
gh e tto
re s i-
f u lly
ina
gh e ttoby im ple m e nting
a
pre conce ive d pro-
de nt te nds tobe lim ite d toth e activitie s th attake
place
gram
w h os e
ju s tif ication
is
only
th e be s tof inte ntions , w ith inh is
com m u nity.
Since th is is th e
cas e ,
if th e Mu -
T h e
re s pons e
to th is
approach
is
u nvarying:
one is m e t s e u m be lie ve s in
com m u nity
involve m e ntit m u s ttrave l
w ith re s e ntm e ntbas e d on w h at th e
com m u nity
inte r- intoth e
com m u nity.
pre ts
as
im pos ition,
and is
u ltim ate ly
drive n
aw ay by
A n
ide ntif ying
f e atu re of
e ve ry gh e tto
is th e vacant
ove rt
h os tility.
If th e
Me tropolitan
Mu s e u m w is h e s to lot.
T h e y
are
nu m e rou s ,
f ilth y,
rat-inf e s te d
s pace s
w h e re
e xte nd its
pu blicim pact
toall th e citize ns of th e
city
it ch ildre nand
garbage
inte ract. T h e
com m u nity
cando
m u s t
approach
com m u nitie s
by as king
w h at
th e y
w ant
noth ing
abou t
th e m ,
as
th e y
are
private prope rty;
th e
and
by pu tting
th e Mu s e u m 's
re s ou rce s , e nth u s ias m ,
and
city re s ponds
w ith f u tile "no
du m ping" s igns .
e xpe rtis e
at th e
dis pos al
of th e
com m u nity.
T h e com m u - T h e Mu s e u m cou ld tu rnth e s e
ne igh borh ood
s cars into
nity
be s t know s w h at it
ne e ds ,
and th e Mu s e u m m u s t m icro-m u s e u m s .
T e m porary
u s e of th e s e lots f or Mu -
262
www.jstor.org
s e u m e xh ibitions cou ld be
arrange d,
and
pe rh aps
th e
De partm e nt
of Sanitationw ou ld
coope rate
in
cle aring
th e land. He re re s ide nts w ou ld h ave acce s s to e xh ibi-
tions
dis playing indige nou s
art,
e xh ibitions
s pe cif ically
de s igne d
f or th is
au die nce ,
e du cational
program s
re in-
f orcing pos itive s e lf -im age s ,
e xh ibits
s h ow ing
th e accom -
plis h m e nt
of Black and
Spanis h
artis ts ,
and
parts
of e x-
h ibits
cu rre ntly
of f e re d at th e Mu s e u m 's m ain
bu ilding.
T h e m e rits of s u ch an
u nde rtaking
are
m any:
m icro-
m u s e u m s w ou ld
ph ys ically
e nh ance th e
ne igh borh oods ,
provide
cu ltu raland e du cational
e nrich m e nt,
dram at-
ically
inf orm re s ide nts of th e activitie s and s e rvice s of
th e
Mu s e u m ,
s tim u late an
appre ciation
of artw ith inth e
com m u nity, bring
artis ts w h ore s ide w ith inth e com m u -
nity
toits
atte ntion,
and m ake concre te th e
dis cre pancy
be tw e e ne nvironm e ntal
u gline s s
and
be au ty.
T h e m e ch anics of s u ch an
activity
ne e d not be com -
ple x.
For
e xam ple ,
th e Mu s e u m cou ld -as th e
Brooklyn
P u blic
Library Sys te m
h as done
- u tilize af le e tof m obile
u nits ,
w alk-th rou gh
m u s e u m s ,
th at
m igh tpark
inth e s e
lots .
Dom e s , Qu ons e th u ts ,
or
s im ple pre f abricate d
u nits
cou ld be u s e d. On th e oth e rh and,
not all Mu s e u m in-
volve m e ntne e ds s tru ctu re s . A narts h ow canbe
pre s e nte d
onaw alls u rf ace
th rou gh
th e u s e of as lide
proje ctor;
bu t
tobe
re ally
e f f e ctive s u ch as h ow m u s tbe condu cte d
by
am anw h oknow s h is
s u bje ct
and cans u s taindis cu s s ion
w ith th e au die nce . Mobile s lide s h ow s in th e
gh e tto
w ou ld be an
e s pe cially s im ple w ay
of
re ach ing large
nu m -
be rs of
pe ople .
How e ve rs u cce s s f u l
te m porary
or
trave ling
e xh ibits
are ,
it is th e
pe rm ane nt
and
continu ing
cu ltu ralactivitie s
in
gh e tto
com m u nitie s th atw illh ave
las ting im pact.
T h e
Mu s e u m s h ou ld
be ginth inking
inte rm s of
anne xe s ,
and
s h ou ld
s u pport
or
coope rate
w ith cu ltu ralins titu tions
th at h ave
natu rally
aris e nin th e com m u nitie s . If th e
Mu s e u m f e e ls th atth e cons tru ctionof
bu ildings
orth e ir
m ainte nance is ou ts ide its dom ainbe cau s e of f inancial
cons ide rations ,
th e re are s till
m any w ays
it can
s u pport
th e e f f orts of oth e rs .
One
im portantw ay
w ou ld be to
e xpand
its loans e rv-
ice tom ake m ore of its s tore d
obje cts
available tocu ltu ral
ce nte rs
th rou gh ou t
th e
city.
For
e xam ple ,
inBe df ord-
Stu yve s ant
th e re are at le as ttw oh ou s e s th ath ave be e n
conve rte d intoce nte rs f orth e
e xpre s s ion
of Black cu ltu re .
T h e s e h ave noins titu tionalaf f iliation
ye t,
and
th e y re p-
re s e nt
only
th e e f f orts of com m itte d individu als w h ore -
s ide inth e
com m u nity.
A cce s s to
trave ling
e xh ibits ,
art
obje cts ,
and
parts
of
s pe cial
e xh ibits f rom th e Mu s e u m
w ou ld dom u ch to
e ncou rage , s u pport,
and m aintaincu l-
tu ralactivitie s
aris ing
inth e
com m u nity
its e lf .
A
point
to be re m e m be re d is th at th e
pe ople
in a
gh e tto
donot
e xpe rie nce
th e irart
pas s ive ly: th e y
w ant
obje cts
th at
th e y
cantou ch and
play
w ith - an
argu m e nt
f or
u s ing
art
re plicas (anath e m a
to
m any
m u s e u m
pe ople )
in
e xh ibits ,
or
giving
or
le nding
th e m to cu ltu ralins ti-
tu tions w ith inth e
gh e tto.
T h e C onte nt of Exh ibitions
P e rh aps
th e
com m u nity advis ory
boards '
m ajor
contri-
bu tions w ou ld be to
h e lp
th e Mu s e u m
pe rce ive
th e kinds
of art tow h ich
gh e tto
re s ide nts
re s pond.
If th e Me tro-
politan
Mu s e u m can
e nlarge
its ide as of w h atcons titu te s
a valu able
of f e ring,
it w ill be able to s e rve
m any
m ore
pe ople .
Forins tance ,
ane xh ibitionabou tdru m s w ou ld
h ave im m e diate
appe al
f or
gh e tto
re s ide nts . T h e dru m
is of
gre at
h is torical
im portance
inA f rican
cu ltu re s ,
and
as h ow
de picting
th e variationof th e dru m arou nd th e
w orld w ou ld be
ve ry e xciting.
A ls o
pe rtine nt
w ou ld be
ane xh ibitof th e arts of th e
C aribbe an;
anoth e ronth e
m any gods
of
m an,
s tre s s ing
th e dive rs e
de pictions
of
de ity;
ane xh ibitof cos tu m e s of variou s
cu ltu re s ;
and
pe rh aps s om e th ing
as
s pe cialize d
as th e inf lu e nce of A f ri-
canarton
tw e ntie th -ce ntu ry
We s te rnart
m igh t
be m ore
ge rm ane
toth e inte re s ts of th e
pe ople
inth e
gh e tto
th an
m any
of th e Mu s e u m 's
pre s e ntof f e rings . Ide ally,
com -
m u nicationis a
tw o-w ay
s tre e t,
and th e Mu s e u m
m igh t
bring
into its m ain
galle rie s
art cre ate d
by practicing
artis ts inth e
gh e tto,
f orth e be ne f itof its
vis iting pu blic.
T h e cu ltu ral
origins
of th e Black and
Spanis h -s pe aking
citize ns of Ne w York
C ity
are not inth e
We s t,
and th is
is af actth ats h ou ld be
appre ciate d by
th e Mu s e u m and
all of its vis itors . T h e re is no re as on
w h y
th e m obile
u nits m e ntione d above cou ld
not,
w h e n
th e y
f e atu re art
pe rtaining particu larly
to th e A f ro-A m e ricanorP u e rto
Rican,
trave l
th rou gh ou t
th e e ntire
city. C e rtainly
ou r
w h ite
popu lation
h as tobe com e m ore aw are of th e
pos i-
tive contribu tions of its non-w h ite
ne igh bors .
T o th is e nd th e Mu s e u m
m igh t
als ocondu ctas a
re g-
u lar
program
an
e th nically varying
"f e s tival of th e
s tre e ts ." A
Spanis h
f e s tival,
a C aribbe an carnival,
an
A f rican
ce re m ony
cou ld be
pre s e nte d
w ith in
gh e tto
are as ,
and in th e Mu s e u m 's m ain
bu ilding
as w e ll.
Inde e d,
at
th e tim e of th e C h ine s e Ne w
Ye ar,
f or
e xam ple ,
th e
Mu s e u m
m igh t
m ou nt a
com ple m e ntary
e xh ibit in its
h alls and
e qu ip
its m obile u nits to
pre s e nt
th is f e s tival to
oth e r
s e gm e nts
of th e
popu lation.
T h e s e s h ow s w ou ld
h ave th e valu e of
involving
all of Ne w York in th e cu l-
tu ral ce le brations of s om e of ou r "oth e r-cu ltu re d"
citize ns . T h e f e s tival w ou ld be
s pe cif ically de s igne d
to
h igh ligh t
e th nic
dive rs ity
as a
pos itive
contribu tion to
th e cu ltu ral e nrich m e nt of all Ne w Yorke rs .
263
Ne w Se rvice s
One of th e m os t
im portant w ays
th e Mu s e u m can
prove
practically
re le vant to th e
gh e tto
re s ide ntis
th rou gh
th e
e xpans ion
and incre as e d
availability
of
e xis ting
s e rvice s .
T h e Mu s e u m s h ou ld cre ate th e
pos ition
of cu ltu ral
f ie ld
w orke r,
a
pe rs on
w h ow ou ld act as acu ltu ral
agitator.
T h rou gh
dis cu s s ions w ith
re s ide nts ,
block
as s ociations ,
local
com m u nity organizations ,
and artis an
coope rative s
h e w ou ld s e e k to initiate
w ays
to e nh ance
cu ltu rally
th e
com m u nity
inw h ich h e live s and w orks . He w ou ld
im ple -
m e nt ide as of f e re d
by
th e
advis ory
boards ,
m ake know n
to all inte re s te d
partie s
th e re s ou rce s of th e Mu s e u m ,
initiate and
carry
ou t
proje cts
s u ch as
com m u nity
block
im prove m e nt,
m u ral
painting,
local art
s h ow s ,
th e cre a-
tion of
com m u nity
cu ltu ral
ce nte rs ,
and coordinationof
art e ve nts
am ong
th e variou s
ne igh borh ood
s ch ools . He
w ou ld
h e lp
artis ts '
grou ps
inth e irs e arch f orf inancial
s u p-
port.
He
m igh t
be able to
e ncou rage
th e SanitationDe -
partm e nt
to cle an
u p
vacant
lots ,
and th e
Bu ildings
De -
partm e nt
to re m ove abandone d
bu ildings ,
and h e
m igh t
organize "paint-ins "
to re nde r th os e de s e rte d
bu ildings
s till
private ly
ow ne d
(and th e re f ore
u nre m ovable )
m ore
ae s th e tically ple as ing.
T h e Mu s e u m
m igh t
m ake
appli-
cation to VIST A f or VIST A w orke rs to as s u m e th e s tre nu -
ou s and
de m anding re s pons ibilitie s
of cu ltu ral f ie ld w ork-
e rs at no e xtra cos t to th e Mu s e u m . T h e cu ltu ral f ie ld
w orke rw ou ld
re pre s e nt
th e Mu s e u m
th rou gh
cre ative ac-
tionand s e rve th e
com m u nity by as s is ting
inits
proje cts .
T h e Mu s e u m is abou t to cre ate a
De partm e nt
of A r-
ch ite ctu re ,
a
de partm e nt
th at cou ld
play
a vital role in
e as ing
th e
pligh t
of th os e w h o live in
gh e ttos .
T h e
gh e tto
re s ide nt is m ore of te n th e victim th an th e
be ne f iciary
of
arch ite ctu ral
planning
be cau s e th e re is no one to
re pre -
s e nt th e
gre at
nu m be rs of
pe ople
w h o are bu ilt
arou nd,
m ove d
ou t,
and
m anipu late d
in
ne igh borh oods
w ith th e
w ors t
living
conditions in th e
city.
T h e
De partm e nt
of
A rch ite ctu re
m igh t
f u nction as an e du cational and con-
s u lting
arm of th e Mu s e u m
by inf orm ing pe ople
of th e ir
righ ts , by acting
in th e ir be h alf as
s pons or
f or com m u -
nity-initiate d re de s ign
of
gh e tto are as ,
by of f e ring
arch i-
te ctu ral as s is tance to local
grou ps
involve d in
re novation,
by de ve loping plans
alte rnative to th os e
re qu iring
e xte n-
s ive dis locationof
re s ide nts ,
by s e rving
as aninf orm ation
ce nte r f or
pe ople s e e king com m u nity h ou s ing im prove -
m e nt,
and
pos s ibly by u s ing
w h ate ve r inf lu e nce it
m ay
h ave to
pe rs u ade city age ncie s
to act in th e
com m u nity's
inte re s ts .
T h e Mu s e u m h as an e xce lle nt Exh ibition
De s ign
De -
partm e nt,
and its s e rvice s s h ou ld be e xte nde d to
advis ing
and
as s is ting com m u nity organizations
th at are
trying
to
cre ate cu ltu ral ce nte rs ,
art s h ow s ,
and e xh ibition te ch -
niqu e s .
Since in m os t cas e s e conom ics de te rm ine th e
natu re of an e xh ibition,
th e
De s ign De partm e nt
cou ld
pre pare
am anu al
de s cribing
th e late s t
s oph is ticate d
te ch -
niqu e s
at th e low e s t
price .
T h e P e rs onne l Of f ice of th e Mu s e u m is avas t
cle aring
h ou s e f or
tale nt,
alth ou gh
at
pre s e nt
its
only
conce rn is
f inding qu alif ie d
individu als to f ill
pos itions
on th e Mu -
s e u m 's s taf f . T h is
de partm e nt
cou ld
e xpand
its f u nction
by dire cting applicants
to
com m u nity e m ploym e nt op-
portu nitie s
as
th e y
are m ade know n to th e P e rs onne l
Of f ice .
C om m u nity organizations m igh t
th u s be able to
f ind
m any
tale nte d
pe ople
to w ork in th e
gh e tto, pe ople
w h om
th e y m ay
oth e rw is e h ave no contact w ith . T h e
Mu s e u m s h ou ld als o continu e its
appre ntice training
program s
of
active ly s e e king
Black and P u e rto Rican
appre ntice s ,
th u s
ope ning u p
nu m e rou s care e r
opportu ni-
tie s f or
m any you ng pe ople .
T h e P e rs onne l Of f ice
m igh t
als o do w e ll to s e arch ou t
qu alif ie d
P u e rto Rican and
Black
prof e s s ionals
to f ill
e m ploym e nt ope nings
at th e
Mu s e u m .
Exh ibition
s pace
s h ou ld be m ade available to
w orth y
grou ps
w h o ne e d
s pace
f or
s pe cialize d
s h ow s .
A lth ou gh
Mu s e u m
s pace
is at a
pre m iu m ,
th e
Me tropolitan
s h ou ld
h ave s om e
s ys te m
f or
as s is ting
in
f inding
oth e r locations .
Su re ly
th e re are
m any organizations
in th e
city
th at
w ou ld be
glad
to e xh ibit art: th ink of th e
s pace
available
in
banks ,
or in of f ice
re ce ption
room s and lobbie s ,
or in
ch u rch
paris h
h alls . T h e Mu s e u m cou ld act as a ce ntral
point
f or
pairing re qu e s ts
w ith of f e rs of
s pace .
A ll th e s e ide as are not m e ant to
re place
w h at T h e
Me tropolitan
Mu s e u m of A rt h as
traditionally
done , bu t
to indicate a re dire ctionof s om e of its e f f ort tow ard th e
are as of
gre ate s t
ne e d
today.
T h e
obligations
of th e Me t-
ropolitan
Mu s e u m trans ce nd
alle giance
to
any particu lar
cu ltu ral
h is tory
or artis tic
bias ,
bu t as one
m ajor
ins titu -
tioninadivide d
com m u nity
it m u s t
h e lpprom ote
s ocial
e qu ity
and coh e s ion. T h e Mu s e u m
ope rate s
inth e are aof
valu e s ,
h e lping pe ople
to f orm w h at are cons ide re d in-
f orm e d and
inte llige nt ju dgm e nts
abou t th e w orth of art
inth e irlive s and
u ltim ate ly
abou t e ach oth e r. T h e
appre -
ciationof and involve m e nt w ith art h as a
f u ndam e ntally
m oral
f u nction,
s tanding
onth e s ide of cre ationinaw orld
f rau gh t
w ith conf lict and te ns ion. T h e
Me tropolitan
Mu -
s e u m of
A rt,
by af f irm ing
th e valu e of all cu ltu re s and
e th nic
grou ps
in th is
city,
cou ld do m u ch to cre ate m u -
tu al
re s pe ct,
w ith ou t w h ich th e re w ill be
only
ch aos .
264
P o o r
P e o p l e s '
P l a n
P RI S CILLA TUCK E R Fr e e l a n ce wr ite r
We a r e co n ce r n e d with
cha n gin g
the a r chite ct' s r o l e . We e n vis io n a
cha n ge
fr o m
the a r chite ct
r e p r e s e n tin g
the r ich
p a tr o n
to the a r chite ct
the
p o o r ,
the m a s in dividua l s a n d a s a n in te r e s t
gr o up .
This
imp l ie s ,
we
fe e l ,
s tudyin g
citie s fr o m a diffe r e n t
p o in t
o f vie w. No t whe the r o r n o t the a r chite ct
dis l ike s
ca r s ,
but whe the r o r n o t
p e o p l e a ctua l l y
us e ca r s a n d wa n t
ca r s ;
fin din g
o ut wha t ide a s
p e o p l e
ha ve a bo ut mo de r n
te chn o l o gy,
a bo ut a
go o d kitche n ,
a bo ut
a
go o d
s tr e e t,
a bo ut a de s ir a bl e
wa y
to
l ive ,
a bo ut the us e o f a win do w
-
whe the r
it' s
jus t
fo r ve n til a tio n a n d
l ight,
a s Le Co r bus ie r
s a id,
o r whe the r it' s in fa ct a
p l a ce
whe r e
p e o p l e
ma ke co n ta ct with the s tr e e t. A
br idge
to the
co mmun ity.
So wha t we a r e
tr yin g
to
ca p tur e
is n o t Br a s il ia but tha t
s ha n tyto wn
n e xt to
Br a s il ia ;
n o t Te ma
(Gha n a ' s
n e w
city),
but
As hia ma n ,
the
s ha n tyto wn
n e xt to it.
The y
a r e
s ha n tyto wn s o n l y
be ca us e
the y
do n o t ha ve the
p ubl ic
s e r vice s a n d fa -
cil itie s tha t Br a s il ia o r Te ma
ha ve ,
but
the y
do
p o s s e s s
the
s p ir it
a n d l ife o f a n
ur ba n
p l a ce
tha t Br a s il ia o r Te ma l a ck.
The y
a r e in fa ct the
p e o p l e ' s cr e a tio n ,
ful l o f the
vibr a n cy
a n d co l o r tha t
go
with l ife .
Ar chite cts ' Re n e wa l Co mmitte e in
Ha r l e m, 1968
WHAT
ARCH,
the Ar chite cts ' Re n e wa l Co mmitte e in
Ha r l e m,
is
wo r kin g
to wa r d in
its
p l a n s
fo r the futur e o f Ha r l e m is n o t
city buil din g
but
city l ivin g.
So ul a r chite ctur e .
An d wha t
the y e xp e ct
to
p r o duce
is n o t a
r e vo l utio n a r y
ma s te r
p l a n
but a
city vil l a ge ,
r e fl e ctin g
a diffe r e n t ba l a n ce be twe e n
l o ca l ,
n e ighbo r ho o d
n e e ds a n d
me tr o p o l ita n p r i-
o r itie s . "The r e a l
is s ue ,"
s a ys
Ma x
Bo n d,
e xe cutive dir e cto r o f
ARCH,
"is n o t ta s te o r
te chn o l o gy.
The r e a l is s ue is the in te n t o f the
s o cie ty.
If
yo u
ha ve the
wil l ,
te chn o l o gy
wil l fo l l o w. We ha ve
go o d de s ign , go o d a r chite cts ,
but we do n o t ha ve
go o d
citie s
be ca us e o ur
go a l s
a r e n o t
go o d."
Wha t is
r e vo l utio n a r y
a bo ut Bl a ck
city p l a n n in g to da y
is its
go a l s .
Fir s t,
tha t the r e
s ho ul d be mo r e
imp o r ta n t
fun ctio n s fo r
p r e cio us city
l a n d tha n
ma kin g mo n e y. Se co n d,
tha t the
ghe tto
a r chite ct s ho ul d be a
r e p r e s e n ta tive
o f the
p o o r p e o p l e , r e s p o n din g
to
the ir
wis he s ,
r a the r tha n a n a dvo ca te o f the white middl e cl a s s
imp o s in g
its
co mp a r t-
me n ta l izin g
va l ue s a n d
gr idir o n
s tr e e t
p l a n up o n
Bl a ck a n d
Sp a n is h-s p e a kin g p e o p l e
who ha ve
quite
o the r s o cia l ide a l s . An d
thir d,
tha t it' s wo r th
s e e in g
whe the r
the y
might
be a bl e to co me
up
with a be tte r e n vir o n me n t fo r
city l ivin g
tha n tr a ditio n a l
city p l a n n e r s
ha ve be e n a bl e to a chie ve .
265
www.jstor.org
"In
co n s ide r in g
wha t a
' p e o p l e -p l a n n e d' city
wo ul d
be ,"
Bo n d
wr ite s ,
"I thin k we
ha ve to r e l a te to the cur r e n t fa d
a mo n g
a r chite cts fo r
s tudyin g
Gr e e k
to wn s ,
a n ythin g
buil t
by
the
p e o p l e .
In
e ve r y
ca s e we fin d n o t
o n l y
a co he r e n t
e xp r e s s io n ,
but o n e ful l
o f in dividua l
va r ie ty,
ful l o f
r ichn e s s ,
ful l o f l ife . Ar chite cts s e e k this a n d wr ite mo n o -
gr a p hs
a bo ut it but n e ve r do it. An d we ' r e
tr yin g
to fin d a
wa y
to do it."
ARCH,
a
s ma l l ,
n o n p r o fit gr o up
o f
yo un g
Bl a ck
a r chite cts ,
city p l a n n e r s ,
a n d l a w-
ye r s ,
fun de d
p a r tl y by
the Office o f Eco n o mic
Op p o r tun ity, p a r tl y by p r iva te gr a n ts ,
a n d
p a r tl y by
co mmis s io n s ,
wa s fo un de d in
I964
to
p r o vide p l a n n in g
a n d ur ba n
de s ign
s e r vice s to l o w-in co me co mmun itie s tha t o the r wis e wo ul d l a ck the m. ARCH
fo s te r s
co mmun ity
in vo l ve me n t,
he l p s
o bta in fe de r a l fun ds fo r l o w-co s t
ho us in g,
in te r p r e ts
r e n t a n d
ho us in g
l a ws ,
he l p s de ve l o p co mmun ity-s up e r vis e d
ur ba n r e n e wa l
p l a n s ,
a n d tr ie s to s a ve l a n d fo r Bl a ck
p e o p l e .
This l a s t ha s tur n e d o ut to be cr ucia l . Fo r with the
s o a r in g
l a n d va l ue s a n d s e ve r e
a p a r tme n t
cl utch,
o n e
gr o up
tha t
de fin ite l y
ha s Ha r l e m o n its min d is Ne w Yo r k' s
r e a l e s ta te me n . As the ce n te r o f Ne w Yo r k mo ve s
up to wn ,
vis io n s da n ce
thr o ugh
the ir
he a ds o f l ucr a tive
a p a r tme n t
to we r s
l o o kin g
do wn the
l e n gth
o f Ce n tr a l P a r k fr o m
IIo th
Str e e t to the ir
high-r e n t co un te r p a r ts
o n Ce n tr a l P a r k So uth. An d o f
I25th
Str e e t ma de o ve r in to Sixth Ave n ue s to n e l a n d. Do wn with the
Ap o l l o
a n d
Da ddy
Gr a ce ;
up
with ma ximum-l a n d-util iza tio n o ffice bl o ckbus te r s .
The l in e is
be in g
he l d
by co mmun ity
br us hfir e s o f r e s e n tme n t a n d r e s is ta n ce in a
n umbe r o f a r e a s : the Ea s t Ha r l e m
tr ia n gl e ,
We s t
Ha r l e m/Mo r n in gs ide ,
the
p ie r s ,
I io th
Str e e t,
I25th
Str e e t,
the St. Nicho l a s
a r e a ,
a n d tha t mo s t fa mo us br us hfir e to
da te ,
the
wo r l d-p ubl icize d
s ce n e
by
Co l umbia s tude n ts o ve r
p uttin g
the
un ive r s ity' s gym
in
Mo r n in gs ide
P a r k.
Agita tio n
do e s
p a y
o ff. "Sin ce the
r io ts ,
white r e a l e s ta te
de ve l o p e r s
ha ve be e n mo r e
wil l in g
to
n e go tia te
a n d the r e ha ve be e n mo r e
gr o up s
within the
co mmun ity wil l in g
to
s p o n s o r p r o te s t."
Un fa ir a s
ma n y
o f the
de ve l o p e r s ' p r o je cts
s o un d,
the y
co me in to fo cus whe n l o o ke d
a t fr o m the
a n gl e
o f the
s te r e o typ e d
white
p ictur e
o f Ha r l e m:
fil thy, fa l l in g-do wn
ha l l wa ys co mp l e te
with ta tte r e d chil dr e n a n d r a ts . Ne e de d: white
mo n e y
a n d white
kn o who w to r e cl a im the hide o us s l um.
In
fa ct,
Bl a ck
p e o p l e
l ive in s o me o f the be s t r e a l e s ta te in the
city. "P hys ica l l y,
Ha r l e m is
te r r ific,"
is the
wa y
Ma x Bo n d
p uts
it.
Whil e
e mp ha s izin g
the n e e d to e l imin a te the
r o ttin g
te n e me n ts ,
he
p o in ts
to Ha r -
l e m' s huma n
s ca l e ,
to the fa ct tha t Ha r l e m wa s we l l a n d
s p a cio us l y
l a id o ut fo r the
middl e cl a s s
(un l ike
the Lo we r Ea s t
Side ,
which wa s buil t
cr a mp e d
fo r
immigr a n ts ).
In s te a d o f
ha r p in g
o n
s e e dy a l l e ys
tha t br e e d
cr ime ,
he ta l ks a bo ut Ha r l e m' s
gr e a t
hil l s ide s a n d
s l o p e s ,
a bo ut its br o a d bo ul e va r ds a n d
p o te n tia l l y
we l l -de fin e d s tr e e ts .
In s te a d o f
fo cus in g
o n the
ho n ky-to n k fa ca de
o f
I25th
Str e e t,
he n o te s its
s up e r io r
l o ca tio n ,
quickl y
a cce s s ibl e to bo th
Ke n n e dy
a n d La Gua r dia
a ir p o r ts ,
a n
e xp r e s s s to p
o n
e ve r y ma jo r s ubwa y
l in e .
An d whil e
r e co gn izin g
tha t
dil a p ida te d,
o ve r cr o wde d
ho us in g
do e s fo r ce
ma n y
o f
Ha r l e m' s a ctivitie s to ta ke
p l a ce
in the
s tr e e ts ,
he
p r a is e s
the
s p ir it
a n d e n te r ta in me n t
266
o f tha t s tr e e t l ife . "The e l e me n ts in the Bl a ck
co mmun ity
tha t we wo ul d l ike to ma in -
ta in a s
go o d,
tha t we fe e l a r e
go o d,
ha ve the ir
o r igin s
in the s tr e e t
o r ga n iza tio n .
Yo u
ca n s e n d
yo ur
chil dr e n o ut to
p l a y
a n d the
n e ighbo r ho o d
wil l ta ke ca r e o f
the m,
be -
ca us e the s tr e e t is the
l ivin g
r o o m. The s tr e e ts a r e
in fo r ma l ,
the y' r e
r e a l .
The y' r e
the
p l a ce
whe r e
yo ur
fr ie n ds
a r e ,
but whe r e the
e n e my (the p o l ice )
is ,
to o . Bl a ck
p e o p l e
e n jo y
the
s tr e e ts ;
the y
l ike to
go
fo r wa l ks .
Eve r yo n e
is a t ho me o utdo o r s .
Ma n y
co r n e r s a r e
s ymbo l ic p l a ce s - I25th
Str e e t a n d Se ve n th Ave n ue whe r e Ma l co l m X us e d
to
s p e a k,
Micha ud' s
bo o ks ho p
us e d to be - in the
s tr uggl e
fo r
e qua l ity,
fo r l ibe r a tio n ."
So whil e r e a l e s ta te me n wo ul d l ike to
ge t
ta l l o ffice
buil din gs
l in e d
up
s ho ul de r to
s ho ul de r a n d tur n
I25th
Str e e t in to
ye t
a n o the r tr a ffic tun n e l , ARCH a ims a t
p r e s e r vin g
I25th
Str e e t' s "ma in s tr e e t
qua l ity."
"Al l the o the r cr o s s to wn s tr e e ts a r e
a n o n ymo us .
Wha t ha s
ha p p e n e d
to 8th Str e e t is a
go o d e xa mp l e
o f wha t we do n ' t wa n t."
Dr a win g:
ARCH
The ir
p l a n
ha s a l o t o f cha r m. A tr e e -l in e d
ma l l ,
s ide wa l k
ca fe s , s ta n ds ,
two kin ds o f
bus e s -
e xp r e s s e s
fo r tho s e in te n t o n the ir
de s tin a tio n ,
l o ca l s fo r tho s e who r ide the bus
fo r fun . An d the ta l l o ffice
buil din gs
a r e s ca tte r e d to the s ide o r ba ck o f the
bl o ck,
a n d
a r e s e r vice d
by
l o w,
ga r a ge -l ike un l o a din g
a n d
p a r kin g buil din gs ,
to
ke e p
ca r s a n d
tr ucks fr o m
ta kin g
o ve r the s tr e e t. The
go a l
is n o t
jus t
cha r m: ARCH wa n ts to de mo n -
s tr a te tha t Bl a ck
p e o p l e
ca n
p l a n
fo r
the ms e l ve s ,
a n d wis h to cr e a te the ir o wn e n -
vir o n me n t.
An y
Ha r l e m s tr e e t is a
co mmun ity p l a ce ,
a
p l a ce
fo r
me e tin g
a n d
cha ttin g. By
the
s a me to ke n Bl a ck
p e o p l e
a r e mo r e
p ubl ic
a bo ut the ir ho us e s .
The y
do a l o t o f e n te r -
ta in in g.
On e ARCH
s ugge s tio n
fo r in n o va tive Bl a ck
ho us in g
is "r o o ms tha t fl o a t be twe e n
a p a r tme n ts
a n d co ul d be us e d
by
a wo ma n who wa n ts to ta ke in
s e win g, by
the
fa mil y
who wa n ts to ta ke in a
bo a r de r ,
o r
by
the
fa mil y
tha t ha s a r e l a tive
co min g up
fr o m
the So uth."
Whe n ARCH
p l a n n e r s
ta l k a bo ut
p a r ks , the y
do n ' t s tr e s s a r e tur n to n a tur e :
the y
ta l k a bo ut ma ximum us e . The ir
p l a n
fo r
Mo r n in gs ide
P a r k do e s n o t s e n d the Co l umbia
p l a yin g
fie l d ba ck to
gr a s s ;
it
a p p r o p r ia te s
it fo r Ha r l e m' s us e . It do e s n o t fil l in the
bl a s te d
gym
s ite ;
it tur n s it in to a n a tur a l
a mp hithe a te r
fo r Mo to wn r o ck
gr o up s ,
the
"La s t
P o e ts ,"
the Ne w
He r ita ge Re p e r to r y
The a te r ,
a n d l o ca l
p e r fo r me r s .
An d it
p uts
in a
s wimmin g p o o l /s ka tin g
r in k,
a s o ul -fo o d
ga r de n , p l a y
a r e a s ,
a
s e a tin g
wa l l ,
me e tin g
s te p s ,
s a n d
p its ,
a
fo r t,
a n o utdo o r e xhibitio n a r e a .
An d,
the y s a y, why
n o t ha ve ba r s ?
"P e o p l e might
co me in to the
p a r k
a n d
br in g
a
p a r t
o f the ir l ive s ."
In
s um,
Bo n d
s a ys :
"I
ima gin e
tha t the Bl a ck
city
wo ul d be l ike a
ve r y
r ich fa br ic.
It wo ul d n o t be a fa br ic with a
s up e r imp o s e d p a tte r n
but o n e with mul tico l o r thr e a ds
r un n in g thr o ugh
it. A
gr e a t
mix o f
ho us in g,
s o cia l
fa cil itie s ,
a n d
wo r kin g p l a ce s ,
r a the r
tha n a s e r ie s o f dis tin ct
zo n e s ,
e a ch
s e p a r a te ,
e a ch
p ur e ,
e a ch P ur ita n ica l . A Lin co l n
Ce n te r ,
p o mp o us
a n d dul l a n d
co mp l e te l y
a l o o f fr o m the
s ur r o un din g
bl o cks ,
s imp l y
co ul d n o t
ha p p e n
in a Bl a ck
city.
Ar t fo r a r t' s s a ke is n o t
p a r t
o f the Bl a ck wo r l d.
Bl a ck a r t is
a l wa ys
co n ce r n e d with
de fin in g
the Bl a ck
e xp e r ie n ce ."
Wha t wo ul d the ide a l Bl a ck
city
l o o k l ike ? It is
imp o s s ibl e
to
s a y,
be ca us e "s o fa r
Bl a ck
p e o p l e
ha ve n o t ha d the cha n ce to
e xp r e s s
the ir cul tur e in buil t
thin gs ."
Wha t wo ul d be s uch a Bl a ck
city' s
e ffe ct o n the r e s t o f Ame r ica ? At be s t the Bl a ck
ma n ' s
s p ir it, o utgo in g
l ife
s tyl e ,
a n d de ma n d fo r huma n s ca l e a n d ur ba n
me e tin g p l a ce s
co ul d ha ve a
vita l ,
in vigo r a tin g
e ffe ct o n
citie s ,
much a s
ja zz
a n d s o ul a n d
s l a n g
ha ve
ha d o n Ame r ica n mus ic a n d
l a n gua ge .
To tho s e who a r e
a p p a l l e d by
the ide a o f the
p o o r ha vin g
a
s a y
in a n a r e a
tr a ditio n a l l y
the
p r o vin ce
o f tho s e with e xte n s ive
p r o fe s s io n a l tr a in in g,
Ma x Bo n d
s ugge s ts :
"The r e
is n o
gr e a t da n ge r
in
s e e in g
whe the r o the r
wa ys
o f
de te r min in g
a r chite ctur e
might
wo r k. The
p e o p l e
ca n n o t do a wo r s e
jo b
tha n a r chite cts ha ve do n e . Ho w co ul d the
p e o p l e p o s s ibl y
be mo r e
p a r o chia l
a n d l e s s s e n s itive to r e a l huma n n e e ds a n d co n ce r n s ?"
268
Salvation Art
FRANK CONROY Author
of "Stop
Time"
WHEN I WAS S
IXTEEN,
going
to summer school to make
up
for certain failed
courses,
I met a kid named Duke who lived
uptown.
He was an
easy-going boy, strong
for his
age,
with
light
brown skin and enormous dark
eyes.
He
played jazz guitar
and fooled
around on the
piano
- our
friendship
had started at the
keyboard,
in
fact,
both of us
cutting
class to
play
illicit four-hand blues on the
Washington Irving High
School
grand.
He lived in a
housing project
on
upper Lexington
Avenue,
and I used to
go up
on those hot summer
nights
and
hang
out. I met his
family,
of course - his father who
worked at the Post
Office,
elderly grandmother
who talked about the old
days
in
North
Carolina,
sister who went out with a sailor and
kept trying
to lose
weight,
and
his mother who
cooked,
in her
tiny
kitchen,
some of the best food I'd ever eaten - but
most of the time Duke and I were out of the
apartment,
on the street. There were
dances in the basement of the
project,
some fantastic stickball
games
in the
dark,
an
occasional
crap game,
and once in a while a little
drinking
of
wine,
but the main
activity
was talk. We talked and talked the
nights away, sitting up
on the black iron rail of the
project
fence
jiving
the
girls
and
shooting
the breeze with the
neighborhood
studs.
Duke was an
utterly straightforward
kid.
Very
calm,
gentle,
and a
good companion.
I didn't realize at the time how rare his situation was- the
family
intact,
father work-
ing,
mother
working
half a
day,
the whole
group, including
Duke,
up
for church on
Sunday mornings.
He was well liked in the
neighborhood,
and the fact that I was his
pal
was all the cachet I needed. We shared a
delight
in the
spoken
word,
and
perhaps
that was
why,
when the
great jive
artists came
by,
the master
talkers,
the
magicians,
they always stopped
to
say
hello.
At first I didn't understand
them,
that is to
say
I didn't understand
many
of the
words
they
used,
nor the exact
meaning
of
many
of the
idioms,
but I
got
the drift.
It seemed not to be
necessary
to know all the
words,
so much of the
message
was in
the
delivery
itself,
in the
rhythms,
silences,
and
dynamics
of a
language
that is half
words,
half music.
They
were beautiful
cats,
each with his own
voice,
his own instru-
ment,
grooving
themselves and
everyone
around them.
Language
was a feast.
As the summer
passed
I learned the words and the idioms. I talked
myself
the
way
I had
always
talked,
but
my
ears missed
nothing.
I missed
nothing
Duke did not miss.
And at
precisely
that
point
I
began,
without
knowing why,
to feel uncomfortable. The
initial technical
mysteries
of the
uptown
vernacular had been cleared
away only
to
reveal a
deeper mystery.
What were
they talking
about? I knew the
words,
I knew
270
www.jstor.org
the
music,
I relished
every
subtle
change
of dialect for comic or dramatic
effect,
and
yet
the essential
subject
matter of most of the talk was
beyond my grasp.
There was
something strange
about talk
uptown.
Rumors, hints,
unspoken
frames of
reference,
allusions and
exaggerations
filled
every speech,
as if the
speaker
were unable
through
some
previous
bond of honor to
speak directly.
There was a sense of
urgency,
as if each
artist,
in
looking
over his shoulder in the midst of an
important phrase, expressed
the
fact that the roots of conversation were elsewhere. All of Harlem seemed to be covered
by
an immense oral network,
a
spider
web of talk in which each strand trembled
sym-
pathetically
to the movement at the center-a
placeless,
timeless center that no one
had ever
actually
seen,
and of which I would
remain,
ipso
facto,
forever
ignorant.
When it
began
to
get
cold the street life ended and Duke and I went our
separate
ways.
It wasn't until a
year
later,
under
entirely
different
circumstances,
that I
began
to understand some of the
mystery.
I was
working
at a
hot-dog
stand in the Union
Square subway
station,
a three-week
stint until I
got something
better,
with two Puerto Rican kids who
spoke
no
English.
Not that communication would have been
possible
even if
they
had,
since we worked
in the midst of a continuous blast of noise
sufficiently
loud to drown out
everything
but a scream. The noise of the
crowd,
the roar of the
trains,
and the
never-ending
crash
of the turnstiles were in themselves
enough
to overload the ears - additional
explosions
from the air hammers of two workmen
tearing
out an
underground
entrance to a bank
no more than ten
yards away
seemed
comically unnecessary. (They
were still at it when
I
quit.)
With so much noise the
experience
was more like silence than
anything
else.
Deaf-mutes,
the customers
pointed
to what
they
wanted and
paid
without
speaking.
I
worked,
making
the
simple
robot moves it was
my duty
to
perform,
with
only my
eyes
alive. The Puerto Rican kids filled me with sadness.
Eager,
alert,
and dedicated
in their shit
jobs, they
rushed back and forth on our narrow slatted
runway
for no
reason at
all,
as if
they
were somehow
getting points
for
snappiness,
as if someone were
watching,
when in fact had
they
died where
they
stood the crowd would not have
noticed,
would not have
paused,
but
gone
on, oblivious,
intent on its brute
impetus.
Almost without
being
aware of
it,
I
began watching
the two old
Negroes
who ran a
shoeshine stand in a sort of cul-de-sac behind some
girders
next to us. Their movements
hypnotized
me.
Eventually,
I
spent every day watching
their dance.
They
had few customers. One or two an hour. Someone
passing by
would
glimpse
them
through
the
girders,
detach himself from the
crowd,
and
go
and climb on the
stand. His shoes would be shined
by
a man who seemed not to notice the tools of his
own trade or even the color of the leather. Whichever of the two old
Negroes
adminis-
tered the
shine,
he seemed
truly
not to be there while he was
doing
it. If the customer
broke the
spell by moving
his feet on the brass
saddles,
speaking,
or in
any
other
way
forcing
a
response,
old shoulders would move under the
cheap gray jacket
in such a
way
as to
express
irritation - as some
diplomat waiting
for the imminent arrival of an
important personage might shrug away
an
annoying underling.
When
they
were not
shining
shoes
they
were
moving, drifting, wandering
around
the two or three hundred
square
feet behind the
girders. They
did not
rush,
and
yet
271
their moves were
purposeful, they
held the
purposefulness
of
people waiting
for an
important message
or contact. The
crowd,
awesome in numbers and
weight, unques-
tionably strong,
moved
by
- but the two old men seemed
always
to be
looking past
the
crowd,
above the crowd into the distance.
(Of
course in the
subway
there was no
distance.
Nor,
since both of them were
short,
could
they
have been
truly looking
over
the crowd.
They
were
assuming
the
postures
of men
looking
over and
beyond it.)
Their
individual movements and their collective two-man movements were a dance
express-
ing
the fact that
they
were not
simply
shoeshine men,
they
were not in
any way
defined
by
the circumstances
immediately surrounding
them,
but were men whose
deepest
interests
lay
elsewhere,
beyond
the visible.
And I believed them. There was not the
slightest
fraudulence in their dance. It was
their life
they
danced. I believed
utterly
in them as two
important
men
disguised
as
shoeshine
boys. (To
be
sure,
I also believed in
myself
as an
important boy disguised
as a
hot-dog man.) They
had the aura of
powerful
men,
and without
thinking
about it I
accepted
them as such. I entered their
drama,
finding myself following
their
eyes
out
over the
crowd,
finding myself waiting, anticipating
some
mysterious
occurrence. I
existed behind them as their
powerful,
more
knowledgeable spirits
radiated
outward,
calling, contacting, exchanging messages
with other
powerful spirits beyond my
ken.
And then one
day
I saw
something
in the face of one of
them,
a
subtle,
indescribable
expression
of stoicism
tiring,
of death
approaching,
and I knew that
although
there
had been no
fraud,
rather
only
a
philosophy
to sustain
themselves,
there was no basis
for their dance of
hope,
no one
they
were
waiting
for,
no interests
they
held
beyond
the
visible,
and no more to them than what I could
plainly
see. It was a tremendous
shock.
Simultaneously
I understood about the summer. The
mysterious
references,
ru-
mors,
and allusions had been without foundation. What I had heard on the streets of
Harlem,
and what the two old men danced in the
roaring subway
was
style
-
sheer
style.
Fantasy
weaves in and out
through
Black culture like
gold
thread in a
tapestry.
An entire
people
have
responded
to
misery by creating
fantasies as
powerful
as the
pain they
have endured.
272
A n In terview
WILSON BURCH
grew up
on rI5th Street in Harlem. He wen t to
George
Washin gton High
School an d
by
the time he wassixteen wasaddicted to
drugs.
He wasable to kick the habit about five
yearsago,
an d sin ce then
he hasbeen in the A ir Force an d held a
variety
of
jobs.
Now,
at
twen ty-
four,
he fin dshimself a freshman at Harvard. The
followin g excerpts
are
from an in terview held in
Cambridge
on e autumn
day
with Jan e
Schwarz,
a freelan ce writer.
How old were
you
when
you graduated from high
school?
Sixteen an d a half.
A n d on
dope?
Right.
A n d then
you
did what?
Hustled.
Do
you regret
it?
No.
Why
should I? I was
doin g exactly
what I wan ted
to do.
When did
you
decide that
way of life
wasn 't so
good?
I didn 't
exactly
decide it wasn 't
good-I just
realized
that I wan ted other
thin gs.
What made
you
realize that?
Essen tially
I realized it all the time. I lived a
pretty
fast
life. Sin ce
early
childhood I've been
exposed
to
rough,
gut,
Black
reality.
I
just
decided it wastime for me to
do
somethin g
about it.
What did
you
do?
I saw that the
on ly way
to
get
some of the
thin gs
I
wan ted was to
give up dope.
A n d I decided the
on ly
way
to
accomplish
that wasto remove
myself
from the
whole scen e,
to
go away
where I could see other
thin gs,
become in terested in other
thin gs.
So I wen t in to the
A ir Force -I used the service to
get
rid of the habit.
To
get awayfrom drugs?
To
get away
from the en viron men t.
Drugs
I can han dle.
But the idea of
bein g subjected
to the whole Black
ghetto
scen e,
to the
very
subtle
humility,
to
coun tin g
yourself
asa secon d-best
en tity,
was
somethin g
I couldn 't
tolerate.
How did
you
like the A ir Force?
I didn 't. But I
began doin g my
own
thin g
there.
What do
you
mean ?
Well,
in the A ir Force I learn ed n ot to be ashamed to
kn ow
myself.
A n d I
got
an
in sight
in to how
people
react
to
everyday thin gs,
to see human
reciprocity
-
how on e
guy depen ds
on an other
guy.
Thisleadsto un derstan d-
in g
the whole
psychology
of crowdsan d how
they
can
be
man ipulated.
Did
you
ever
feel
that
you
couldn 't make it?
Sure,
at certain times I've felt that life's been in sur-
moun table,
but it's n ot a
thin g
I've adhered to as a
philosophy
or else I would be dead. I
just
wouldn 't have
been able to make it this
far,
because there have been
an y
n umber of dead en ds in
my
life that I've had to
cope
with
just
in order to live.
My early
life was
very
muddled because I didn 't kn ow
what I wan ted to do. I was
really tryin g
n ot to
iden tify
with
myself.
But n ow the
bag's
differen t. I'm
doin g my
thin g.
What hasbecome
of yourfrien ds?
Mostly
all
dope
addicts.
Why
did
you
come to Harvard?
I had decided to
go
to school an d I was in fluen ced
by
someon e who wasa Harvard
graduate,
who
brought
me
to talk to some of the admission s
people.
Have
you given an y thought
to what
you might major
in ?
A t this
poin t
I'm un decided. For all
practical purposes
my
in ten ded field of con cen tration is econ omics.
What about
philosophy?
A ll the direction we have n ow is based on a bun ch of
273
www.jstor.org
old,
archaic
prin ciples-you
kn ow, Greek,
Roman
phi-
losophy,
hun dredsan d hun dredsof
years
old. It doesn 't
approximate
the realitiesof
right
n ow. There'sn o such
thin g
as a
modern -day philosophy
an d it's
desperately
n eeded.
A re
you doin gan ythin g
in the
Cambridge commun ity?
I'd like to use the
man power
here- the studen tsfrom
Harvard an d Radcliffe that wan t to teach- to
develop
a school
system
that would
brin g
some of the ben efitsof
the Harvard
type
of education to the
poor
kidsof Cam-
bridge
an d
Roxbury,
both Black an d white. I thin k it's
a
n ecessity.
The school
systems
are
deplorable.
I wan t to
direct some of the militan t
en ergies
of the
un iversity
an d
commun ity
in to education ,
to
brin gin g
the min dsan d
attitudes of the
youn g up
to where
they
should be in
order to
cope
with the future.
Do
you
thin k
people
in Harlem will resen t
your comin g up
here to Harvard?
Why
should
they?
I don 't have
an y problem relatin g
to
them. When I
go
back I won 't be a
"boojie"-a
bour-
geois n igger-I'll
still be the same
guy;
I'll be able to
talk to the
drug addicts,
to the
hustlers,
to the
people.
You
really feel
this
experien ce
at Harvard isn 't
goin g
to
chan ge you?
It can 't.
My
characteristics are
pretty
defin ite at this
poin t.
If I had come to Harvard when I was first out of
high
school,
I would have
chan ged.
If you
had to describe
Harlem,
how would
you
do it?
First of
all,
it's home to me. It's a
Negro ghetto,
in New
York
City
where all the
Negroes
who come from the ru-
ral areasin the South have settled. A n d it's a
happy place.
A t the same time it is a
very
sad
place,
where
drugs
are
very, very prevalen t.
What
helped you
most
durin g your
childhood in Harlem?
I have to
give
a
great
deal of credit to
my paren ts.
I was
really pushed by my
father an d
mother;
I don 't thin k
they really
un derstood in what direction
they
were
push-
in g
me,
but
they
did
try
to do what
they
could for me.
It's the same
attempt
all
paren ts
make.
That,
added to
the fact that I've
always placed
a lot of
stren gth
in
my
own con viction s an d what I
thought
I could do.
To some exten t I was
lucky,
because there are
man y
thin gs
that could have
happen ed
that didn 't
happen .
I've taken a lot of
chan ces,
I've been con fron ted with
death several
times,
an d
just
the fact that I'm still here
in dicates to me that I have
somethin g
to do.
Do
you
kn ow
what this
somethin g
is?
Well,
I
sway people.
When I talk with Black
people
it's
a
very spon tan eousthin g
-
ears
open , eyes open ,
an d
they
believe. I feel
obligated
to tell them what
they
n eed to
kn ow,
to be
very
defin ite about what I believe
in ,
to
cause them to
question my
beliefs an d the beliefs of oth-
ers,
an d n ot to
accept an ythin g
as truth without
ques-
tion . I feel as
though
it's
my job
to
teach,
it's
my job
to
demon strate,
it's
my job
to
love,
an d
even tually
it will
be
my
job
to die.
I've taken the
wron g
road a
couple
of
times,
but some-
how I've
always
kn own that a
great
man lives his life
kn owin g
that he's
respon sible
for the
plight
of other
people
an d that he has the
ability
to do
somethin g.
274
Do
you expect
to
go back
to Harlem
after
Harvard? Do
you feel
a
respon sibility
to Harlem an d other
ghettos?
I feel a
respon sibility
to
myself.
I'm
defin itely goin g
back
to
Harlem;
to all the other
ghettos
all over the world.
You
feel
that
your
life's
work
liesin
helpin g
the
people of
the
ghettos?
Wait a min ute. I'm n ot an idealist or
an ythin g.
It's
just
that because of
my past
I realize that the
on ly way
to
help myself
is
through helpin g
Black
people.
It's assim-
ple
as that. I don 't care how it soun ds.
Every
man has
self-preservation
in min d an d
everythin g
else is secon d-
ary.
It's
always
the self iden tified with a
problem,
but
first the self. I'm n ot
sayin g
that to
try
to
play
down
the fact that I
sin cerely
wan t to
help people
an d Black
people. Basically
I believe in human
bein gs.
To hate is
wron g
but it'sa
very n ecessary thin g.
A man who kn ows
that he has a
job
to do has to un derstan d the human
emotion sthat cause
people
to act in certain
ways.
Hate
is
very
useful
-
if
you
can
get people
to hate
blin dly, you
can
get
them to
forget
about some of the
thin gs
that
really
bother them.So leadersresort to it.
Kn owin g
that
someday
I'll lead
people,
I would
hope
to establish a
preceden t
of n ot
havin g
to resort to it.
A lthough
I don 't
kn ow.
What do
you feel
that
you yourself
can do in Harlem?
I'd like to
get
rid of the
existin g dope problem.
How would
you go
about it?
If
you
wan t to rid Harlem of
dope, you
n eed a total an -
n ihilation of the
city's
n arcoticslaws. You
see,
the
city
lawsdiffer
tremen dously
from the state lawsan d are de-
sign ed
to
keep dope
con tain ed within Harlem. In New
York
City,
for
havin g
a certain amoun t of
drugsyou'd
probably get
a
suspen ded
sen ten ce. For the same amoun t
of
drugs
in New York State
you
would
probably
be con -
fin ed to
jail
for a
year.
You
hon estly
feel
there'sa con scious
effort
to con tain
drugs
within Harlem?
It hasto be con scious. First of
all,
n o Black man
brin gs
dope
in to the
coun try
-
he
just
doesn 't have the facilities.
It's
brought
in
by
the white man .
Now,
secon dly,
the
marketsfor n arcoticsare all in certain
places.
A ll
right,
then if
you
look at the laws
they
are all
design ed
to con -
tain it within a certain area. It's reason able to sell
dope
in New York
City,
because,
n umber
on e,
the lawsare
such that
you
are n ot
goin g
to
get
the maximum amoun t
of
time,
an d n umber
two,
it's
profitable.
Beyon d chan gin g
the
laws,
what else should be don e about
the n arcotics
problem?
You're
goin g
to have to deal with the
jun kie
himself.
It's been
proven by statistics,
if statistics
prove an ythin g,
that the recidivism rate-the rate of return -is about
eighty-five per
cen t. So
you
have two
possibilities:
either
the in stitution s that rehabilitate
drug
addicts are
wron g,
or
you
have to
accept
the idea that
you
can 't cure a
drug
addict.
Okay,
start off with the in stitution s. There are a
lot of
very, very
bad
thin gs
that are
wron g
with them.
They
act as if
they
don 't realize that n arcotic
drug
ad-
diction is about
eighty-five per
cen t
psychological,
about
fifteen
per
cen t
physical.
To rehabilitate a
drug
addict
you
have to
an alyze
the reason
why
this man resorted to
drugs.
First of
all,
because
they
were available.
Secon dly,
because there is some
deep psychological problem
that
he's
tryin g
to run
away
from. In order for an in stitution
to be effective it has to han dle this
problem;
it has to
reorien t this
man ,
it has to
give
the man a sen se of values.
In other words when he's cured he has to be able to come
back in to
reality; cope
with it as it is.
They
don 't do
that. You have to
give
him a mean s to earn a
livin g.
They
don 't do that.
They give
him some
really
bull
job
that he doesn 't wan t to
do,
that he feels is ben eath him.
In order to
rectify
all this
you
have to set
up
an in sti-
tution that will con sider
dope
a
psychological problem,
an d attack it from that direction . You then have to ac-
cept
the fact that
you
can 't cure all
dope
addicts. So
what do
you
do for the on es
you
can 't cure? Either the
Photograph: Virgin ia
C.
Myers
federal
govern men t
has to
recogn ize dope
as a sickn ess
an d han dle it as a medical
problem,
or
they
must make
it
very
un attractive for
an yon e
to sell
dope by givin g
it
away
free. Or
stop lettin g
it in the
coun try.
Is this
feasible?
Well, dope'sgoin g
to
get
out of han d. It's
goin g
to
tap
the
lily-white
children in Scarsdale an d all the other sub-
urban areas. It's n o
lon ger
a
thin g
that's
just goin g
to
con tamin ate the Black folks. It's
goin g
to take over
everybody
if
they
don 't watch it.
They
realize thisn ow.
It's too bad
they
didn 't realize it
lon g
before.
What else do
you
wan t to do in Harlem?
I'd like to teach for a while. I'd like to see the Black man
educated, actually
have him kn ow what direction soci-
ety's goin g
in an d
why
it is
goin g
that
way.
In other
wordshave him kn ow
somethin g
about the basic
psy-
chology
of the forcesthat con trol him.
Teachin g
a
really
thorough
course in Black
history
in school would be
good.
The Black man should learn the
simple
factsabout
thin gs
like
slavery
an d
religioussuppression .
If he can
un derstan d that these are
thin gs
he created himself, it
would ren der him free to do other
thin gs
with his
en ergy,
to use
un tapped
men tal
poten tial
toward
preservation
of
human ity
an d n ot
spen d
all his time
hatin g.
I'd like to see the Black man become more in terested
in his own
iden tity
an d
stop thin kin g
about the white
man . But don 't
get
me
wron g,
I don 't hate
an ybody
because
they're
white. It's a
dreary,
drab, sick
thin g
to
hate. There'sa lot of it in Harlem n ow an d it is what is
n eeded. There'sn o other
way
that
people
can
begin
to
man ifest their own sen se of
pride,
their own sen se of
bein g.
Hate is a tool that
they're usin g right
n ow. It's
on ly
when hate is carried to an extreme that it becomes
really
harmful. In small doses it can cause
people
to
chan ge
an d can be a useful tool.
Where would
you begin makin g
these
chan ges?
With the children .
Simply try
to reorien t the
children ;
give
them the
self-pride,
the
iden tity
that
they
n eed.
That'show it worksfrom
gen eration
to
gen eration .
You
educate the children . Give them the
proper images
to
emulate an d then
they
themselveswill
rectify
the exist-
in g
chaoticcon dition s.
What are these
images?
A Black man who's
sufficien tly stron g,
who can
cope
with
reality;
who'sn ot
goin g
to run out an d leave his
family,
who's
goin g
to be
there;
who'sa
fighter,
who's
n ot a
quitter,
because
quitters
n ever win .
Just a
man ,
period.
How should the
Black
man
go
about
chan gin g
his self-
image?
He must start
educatin g
hisown children in an en viron -
men t that
they
are comfortable in . Give them back their
iden tity.
Use the
advertisin g
an d commun ication s media
to
project
to the
people
a sen se of
pride,
a sen se of
bein g
importan t. Essen tially, bein g importan t
lieswithin each
in dividual,
every
human
bein g
on this
plan et
is
impor-
tan t.
Isn 't it
difficult to con vin ce
yourself
that
you
are
importan t
if you
don 't have a
job
an d
your
kids
are
hun gry?
If we
just an alyze
the
thin g
from a
logical stan dpoin t
we'd fin d that the reason
why people
in Harlem don 't
have
jobs,
an d
why
there is
poor housin g,
is
society.
So-
ciety
has
really
made it
very
hard for the Black man .
He is n ot allowed the
opportun ity
to educate
himself,
an d
kn owledge
is
power. They say
the whole
system
is
based on education but it's n ot. The
system
is based
on
kn owin g, kn owin g
how to take the
thin gs
that
you
kn ow an d make them useful. The tradition al
system
has
made it
impossible
for the
Negro
to
get an ywhere.
Not
on ly
doesn 't he have the
kn owledge
to
acquire
certain
jobs,
but there have been occasion swhere
Negroes
have
had the
kn owledge
an d been den ied the
job
for on e rea-
son or an other.
How,
specifically,
will
self-kn owledge help
the Black man ?
It will show him that he hasn o
problem
in
society.
That
he'sa man . That he can
compete.
Take
my
father: he's
made
mon ey,
but he'sn ot a
happy
man . He hasn 't been
able to see that in this
society
the fact that he wasable
to
acquire
it mean sthat he's able to
compete.
A ll the
time he'ssort of been
sufferin g
from this
psychosis,
thin k-
in g
that he wasn 't as
good
as he is. He's n ot a
quitter,
so in a sen se he'swon .
This
self-pride
will have to come
from
within the race?
Right.
There's
n othin g
that the
power
structure can do
for the Black man
except just
leave him alon e.
So there's
n othin g
that outsiders can do
for
Harlem?
Well,
there are a lot of whitesin Harlem n ow who are
doin g
a
good job.
Their in ten tion sare
sin cere,
but I
thin k their
job
is to han dle the white folks.
In Harlem?
Not in
Harlem,
just
han dle the white
folks,
period.
White
society
is educated in the rudimen tsbut n ot in the real-
itiesan d that'swhere these
people
can
help.
The
average
white man comesin to a
ghetto
like Harlem. He
experi-
en cesfor the first time in hislife the
gut feelin g
of what
276
prejudice actually
is: the
person al, spon tan eous
emotion
that comes from within when
you
kn ow the
people
aroun d
you
don 't like
you. They
don 't kn ow whether
you're
evil or
good, they
dislike
you simply
because
you
represen t somethin g
that's
foreign .
Now the white man
fin dshe's
afraid,
because n ow he's
got
to deal with
people
he kn ows
n othin g about-people
that kn ow all about
him
just by readin g
booksthat reflect his
image.
So how
doeshe han dle these
people?
He has to do on e of two
thin gs:
he has to
give
them
somethin g
to
cope
with,
somethin g
to
fear, somethin g
to n ot un derstan d. But he
realizeseven n ow that is
very
difficult to do because the
sleepin g tiger
haswoken
up.
So,
if thiswon 't work ...
in comesthe Urban
League,
the A merican Christian in
A frica.
Well-in ten tion ed
groups, you
mean ?
Well-in ten tion ed,
but here'sthe
thin g:
some of
my
best
frien ds,
people
like
you,
are in
Harlem,
an d
they
have a
place.
But
they
don 't
con trol;
they
don 't
pay
the
piper
so
they
don 't call the tun e.
They
can be
used;
their
effortsare
misrepresen ted.
How so?
Well,
the Urban
League
an d
groups
like that come in
an d educate the Black man an d
give
him
mon ey.
But
he doesn 't make the
mon ey.
He still is
placed
within a
society
that he has
absolutely
n o con trol over. So what
good
is it? You're
tellin g people
that the
on ly way
to
get
ahead is to
get mon ey,
"become educated so
you
can
get
more of
this,
so that
you
can
get
the
mon ey
that I have."
Givin g
them
mon ey
is n ot the an swer.
Makin g mon ey
available so that schoolscan be
built,
so that we'll have
the
proper
recreation facilitiesso Black
people
can divert
some of the
en ergies
an d in ten tion sthat
they
have to-
ward
useful, mean in gful thin gs
-
that'sa
good thin g.
But
just
the
mon ey?
What
good
is it?
This is
somethin g
that
really bugs
me. The idea that
a certain amoun t of
mon ey
can do
somethin g
isn ot
goin g
to work. There are
already en ough
in stitution s.There
hasbeen this
grossapproach
to the
problem.
How do we
in fact
help
a million
people
at on e time? You can 't do
it. What hasto
happen
n ow is to
begin
to deal with the
in dividual n eedsof Mr. So-an d-So. That doesn 't
apply
on ly
to Harlem but all over the world.
The Black man has been in
slavery
for six thousan d
years:
he's n ot
goin g
to
sudden ly
evolve on e aftern oon
an d be a free man an d be able to do what he wan tsto do
an y place
he
goes.
It will take time for him to
get
what
he thin kshe
wan ts,
for him to
get an y
sort of
power,
for
him to
begin
to create a
destin y
for himself. It'sn ot
goin g
to
happen
all of a sudden .
What about the suburban
groups
that
recen tly
came in an d
pain ted
housesin Harlem?
I don 't see
an ythin g wron g
with that.
Essen tially
it'sn ot
the fact that
they
come in an d
pain t,
it's the fact that
they
realize that there hasbeen
in justice perpetrated
on
the
part
of those in con trol. These
people
that
represen t
the middle
class,
they're
n ot the on esthat coun t. Their
position
is
really
n o differen t than the
position
of the
people
in Harlem. The
on ly thin g they
have is a little
more
security,
but
they
don 't have free
will,
they
don 't
con trol the
govern men t.
The
power
in the
govern men t
is con trolled
by
about ten
per
cen t of the
population
of
this
coun try. They
sit back en tombed in their houses
someplace
on some moun tain an d
they
own the
media,
they
determin e.
These
groups
who come to Harlem from White Plain s
are
just
human
bein gsreactin g
to a
very
human situa-
tion .
They
see
somethin g wron g
an d
they
react as
an y
other human
bein gs
would or should.
There is
n othin g wron g
with them
tryin g
to
help.
The
fact that
they help
will for a lot of them relieve their
con scien cesabout differen t beliefsthat
they
have. You
don 't thin k
everyon e
who comesisa
do-gooder,
do
you?
It's
certain ly
n ot the truth.
They
aren 't all there because
they
are in love with Black
people.
Some of them come
to Harlem to
help
Black
people
because
they
hate Black
people; they
come because
they
feel that somehow their
hatescan either be
justified
or
disproven .
What about the
people
within
Harlem,
what can
they
do?
Essen tially
what
you're sayin g
iswhat can the Black man
do for himself. What he can do is
chan ge
as the times
chan ge.
In his heart he kn owsthat
thin gs
are
gettin g
better. But I don 't thin k that
just
because of this he's
goin g
to become
complacen t.
He kn owsthat in order to
chan ge an ythin g
he's
goin g
to have to
actively partake.
The an swer to the Black man 's
problem
does n ot lie
in
Harlem,
it lies in the Black man . It lies in his aware-
n essthat he's n ot in thisworld
by
himself,
that he's in
thisworld with million san d million sof other Black
peo-
ple
who are
bein g
con trolled
by
a
very
small
min ority.
The an swer to his
problem
will come
through
in ten sified
commun ication , through becomin g
auton omous, through
econ omic
man ipulation .
The Black man must somehow
learn to use the econ omic
poten tial
for
power
that he
has. He must create his own econ omic
system.
What sort
of
econ omic
system?
A
system
based on me an d
every
other Black man . Now
277
we have a subsisten ce level-we do in fact
acquire
some
of the
gross
n ation al
product.
But we could combin e all
our in dividual in comesin to a force that would be
very
effective in a
capitalist society,
like
boycott.
We com-
prise
such a
percen tage
of the blue-collar labor force that
if we all
stopped workin g
all
through
the
coun try
at on e
time,
it would have
quite
an effect. These are workable
mechan icsthat the
power
structure usesitself. These are
workable mechan icsthat the Black man hasin his
grasp.
Should the
govern men t
be
doin g
more? Is the
govern men t
aware
of
the situation ?
Don 't ask me that. You kn ow the
govern men t's
aware.
They study
labor statistics,
they
have econ omic
projec-
tion s, they
kn ow what
bein g poor
is
about,
they
create
the con dition sthat exist in this
coun try.
You
feel
the
govern men t
created the
problem?
Not the
problem,
the
problems,
all over the
coun try.
I
mean ,
do
you
thin k for on e min ute that the
govern men t
doesn 't kn ow? I admit that there are
people
there who
have altruistic
motives,
who
really
don 't kn ow what's
goin g
on an d would
really
like to do
somethin g.
But there
are a lot of
people
there that
really
kn ow.
They
kn ow.
What about
politics
in Harlem?
Well,
politics
is the
game
in this
econ omy.
In a demo-
cratic
society,
the
power
is in the
political
structure.
Years
ago
it used to be -
well,
at on e
poin t
it was
force,
then wealth. Now it's
chan ged
a bit. You don 't n eces-
sarily
have to be
wealthy
to be
powerful
in this
coun try,
all
you
have to do ishave
political stren gth.
A n d
political
stren gth
is
essen tially people
- it's
people havin g
con trol
of
people.
Hitler wasn 't a rich
man ,
he
just
could
sway
people.
He was a
dyn amicperson ality
an d that'swhat
the real
power
is. That's what television is all about:
sellin g
an d in doctrin ation an d
exploitation .
What could someon e like me do to
chan ge existin g
con -
dition s?
Believe an d care an d be sin cere. If
you
believe that
what's
goin g
on is
wron g,
then let
your
beliefs
guide
you
to do whatever
you
thin k is
n ecessary
in order to
chan ge
the
wron g.
If
your
beliefsare
stron g en ough
to
keep you
from
falterin g
or
bein g misled,
you
are
goin g
to
chan ge
the con dition sthat
you
do n ot believe in .
There'sn o on e
thin g you
can do: it's a
very complex
problem.
You do
your
little
thin g
an d I'll do min e an d
through
all these little
chan gesyou're goin g
to have a
very
big chan ge.
It's
possible
that all these little
thin gs
278
will make a revolution
n ecessary. Becomin g
frustrated
because
you
can 't do
your
little
thin g
because the
system
won 't allow
it,
might
make it obvious to
people
that it's
n ecessary
to have an other
system
to do their
thin g
in .
There is
goin g
to be
power politics
between the Black
man . There are two differen t men talities
existin g right
n ow: the so-called Black
men tality
an d the so-called Ne-
gro men tality.
Both faction s are
goin g
to
acquire
some
power
an d some wealth. The
ideologies
are n ot
goin g
to
be the same an d
you
are
goin g
to have war.
Then how can
you say
that Harlem's
gettin g
better?
Out of this
upheaval somethin g
will
evolve,
somethin g
that is
goin g
to be
good.
Harlem an d the Black
people
have to
go through
a whole series of
chan ges.
What
chan ges?
Well,
first of
all,
after
they
fin d their
iden tity,
after
they
kn ow who
they
are,
then
they've got
to decide what to
do an d how to do it.
They've got
to start
thin kin g
about
the Black man 's
position
in
fifty
or
sixty years,
how he
relates to
human ity.
In
fifty years
there will
defin itely
be
political
turmoil.
You can see it
happen in g
n ow with the death of Mal-
colm X. I thin k that was the first
cleavage
in the whole
cycle;
it's
defin itely
a
thin g
that
you're goin g
to see
hap-
pen in g
more an d more. A s
people acquire power, alon g
come the
n ecessary
evils that on e
acquires
with
power.
It's n ot
goin g
to be a
happy
time. That's
why
I don 't
like to thin k of it in
fifty years'
time;
I'd rather thin k
of it in a hun dred
years'
time.
What would
you hope for
the
future of
Harlem?
In the future Harlem will be a
commun ity
han dled
by
Black men who will be a n ew breed of men with a n ew
social awaren ess. The
Negro
in this
coun try
will still be
in the
min ority
as far as n umbers
go,
but there will be
a differen t situation . Harlem will be the
meltin g pot,
or
stoppin g-off place,
for a
huge symposium
of Black
people
from all over the
world,
because of the in ten sified com-
mun ication s n ow
goin g
on between the A frican faction s
an d some of the faction s within Harlem. So the
people
who are in
power
in Harlem will become
very sign ifican t
Black
people throughout
the world. You'll have in tern al
struggles
with some sort of
un dergroun d type
of
thin g
fin din g
its roots in Harlem. It will
probably
be the
place
-an d I'm sure
everyon e
kn ows it -where the revolution
starts in this
coun try,
if on e starts. The
brain power
will
come from a
place
like Harlem an d so will the
mon ey.
What
steps
would
you
take to in sure a better childhood
for
your
own child than
you
had
yourself?
Well,
when I have a child
-
this is
goin g
to soun d sort of
con ceited-all he's
got
to do is
just
be like his dad an d
he's
goin g
to make it because his dad's a win n er. Never
been a
quitter
all his life.
I'd in still in him a sen se of
pride
an d free will. I'd also
like to
give
him a set of values that he can live
by
an d
pass
on .
But
you
are an
exception
to the rule.
Not
exactly
an
exception
because there are a lot of ex-
ception s.
There are a lot of
people
in Harlem that have
got
what it takes to make it but
they
have the
wron g
values. That's what had me
really
in bad for a while:
tryin g
to un derstan d what's worth
havin g
an d what isn 't.
This
society
is based on
mon ey
an d what
mon ey
can do
for an
in dividual,
n ot on the abstract sort of
thin gs
that
mean more than
mon ey:
ideas, desires,
ambition .
For a
lon g
time I was a cheat. I used the
power
I had
to
persuade people
to do what I wan ted them to do for
my
own ben efit. I've had
mon ey,
but I wasn 't
happy,
an d that
really
made me
begin
to see that it wasn 't in
mon ey.
I foun d out that
my
values were
n owhere;
that
they
weren 't
goin g
to
get
me what I wan ted.
They
weren 't even
goin g
to
get
me what I
thought
I wan ted.
I didn 't wan t the same
thin gs
then that I wan t n ow.
A t this
poin t
I'm
glad my
life was the
way
it has been .
Primarily
because I un derstan d life a lot better than most
people
an d I'm n ot
stymied by reality.
If I had had some
of the
thin gs
I wan ted
-
what I
thought
Iwan ted: the best
of
everythin g
- I don 't thin k I would be the
type
of
per-
son that I am
today
an d I don 't thin k the
possibilities
that I have n ow would be
open
to me. I've n ever been
as
happy
as I am
right
n ow.
Photograph:
Gordon
Parks,
LIFE
Magazin e
HARLEM
A C u l t u r a l
Hi s t o r y
SELEC TED
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S.
Bl a ck Wo r ker s
a nd t he New Uni o ns .
C ha pel
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28I
C hr i s t ma s , Wa l t er .
Negr o es
i n Pu bl i c Affa i r s
a nd Go ver nment . Yo nker s , I966.
C i t i zens '
Ho u s i ng
a nd
Pl a nni ng
C o u nci l o f
New Yo r k. Ha r l em
Ho u s i ng. N.Y., I939.
C i t y -Wi de
C i t i zens ' C o mmi t t ee o n
Ha r l em,
New Yo r k. The
St o r y o f
t he
C i t y -Wi de
C i t i zens ' C o mmi t t ee o n Ha r l em. N.Y.,
I943.
C u na r d, Na ncy . Negr o Ant ho l o gy :
I931-
I933. Lo ndo n, 1934.
Du Bo i s ,
Wi l l i a m Edwa r d
Bu r gha r dt .
In
Ba t t l e
fo r
Pea ce. N.Y., 1952.
- . The
Negr o
Ar t i s a n. At l a nt a , 1902.
. 20t h
C ent u r y :
"The
C ent u r y o f
t he
C o l o r Li ne."
Pi t t s bu r gh, I950.
Du nba r ,
Ba r r i ngt o n.
"Fa ct o r s i n C u l t u r a l
Ba ckgr o u nd
o f t he Br i t i s h Wes t Indi a n
Negr o
a nd t he Amer i ca n So u t her n
Negr o
t ha t C o ndi t i o n Thei r
Adju s t ment
t o Ha r -
l em."
Unpu bl i s hed
Ma s t er 's
t hes i s ,
C o -
l u mbi a
Uni ver s i t y , N.Y., 1936.
Ea r l y ,
El ea no r . New Yo r k
Ho l i da y .
N.Y.,
I950.
Fo r d, Ja mes
Wi l l i a m.
Hu nger
a nd Ter r o r i n
Ha r l em. N.Y.,
1935.
Fo r d, Ja mes Wi l l i a m,
et a l . Sl u ms a nd Ho u s -
i ng:
Wi t h
Speci a l Refer ence
t o New
Yo r k
C i t y .
2 vo l s .
C a mbr i dge, Ma s s ., 1936.
Fr a zi er ,
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Negr o
Ha r l em:
An
Eco l o gi ca l St u dy .
N.Y., I937.
. The
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i n t he Uni t ed St a t es .
N.Y., I949, I957.
. The
Negr o Fa mi l y
i n t he Uni t ed
St a t es .
N.Y., 1939, 1948.
Fr o s t ,
Ol i vi a
(Pl ea s a nt s ).
So me
So ci o l o gi ca l
As pect s o f
t he
Rea l t y
Inves t ment
Ma r ket
i n New Yo r k's Ha r l em.
N.Y., I95
.
Ha r r i s ,
Abr a m Li nco l n. The
Negr o
a s
C a pi -
t a l i s t .
Ha y nes , Geo r ge
Edmu nd. The
Negr o
a t
Wo r k i n New Yo r k
C i t y :
A
St u dy
i n Eco -
no mi c
Pr o gr es s . N.Y., 1912.
Hi r a y a ma ,
Yo nezo . A Yel l o w Ma n Lo o ks
a t a Bl a ck Wo r l d.
N.Y., 1936.
Hu ghes , La ngs t o n. Fi ght fo r
Fr eedo m. N.Y.,
I96I, 1962.
Ja ck,
Ro ber t L.
Hi s t o r y o f
t he N.A.A.C .P.
Bo s t o n, I943.
Jo hns o n,
Bes s i e
McInt y r e.
A
St u dy o f
Fr ee
Adu l t Edu ca t i o n Int er es t s a s
Appl i ed
t o
W.P.A. Adu l t
Edu ca t i o n,
Ha r l em. N.Y.,
I940.
Jo hns o n, Ja mes
Wel do n.
Negr o Amer i ca ns ,
Wha t No w?
N.Y., I934.
Ki s er , C l y de
V. Sea Is l a nd t o
C i t y :
A
St u dy
o f
St . Hel ena Is l a nder s i n Ha r l em a nd
Ot her Ur ba n C ent er s .
N.Y., 1932.
La i t , Ja ck.
New Yo r k C o nfi dent i a l . C hi ca go ,
1948.
Lewi s ,
Edwa r d S. The
Mo bi l i t y o f
t he
Negr o :
A
St u dy
i n t he Amer i ca n La bo r
Su ppl y .
N.Y., I93I.
Lo cke,
Al a i n
Ler o y .
The New
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1925.
Lo vejo y ,
Owen R. The
Negr o
C hi l dr en
o f
New Yo r k.
N.Y., I932.
Ma r s ha l l ,
F.
Ra y .
The
Negr o
a nd
Or ga ni zed
La bo r .
N.Y., I965.
Na t ha n,
Wi ni fr ed Ber t r a m. . . . Hea l t h
C o ndi t i o ns i n No r t h Ha r l em:
1923-1927.
N.Y., 1932.
New Yo r k
(C i t y )
C o mmi t t ee o n Sl u m
C l ea r a nce Pl a ns . No r t h
Ha r l em,
Sl u m
C l ea r a nce Pl a n Under Ti t l e
o f
t he
Ho u s i ng
Act
o f 949. N.Y., 1951.
New Yo r k
(C i t y ) Ma y o r 's
C o mmi s s i o n t o
Inves t i ga t e
C o ndi t i o ns i n Ha r l em...
C o mpl et e
Ri o t
Repo r t
Ba r ed. N.Y., I936.
New Yo r k
(C i t y ) Ma y o r 's
C o mmi s s i o n o n
C o ndi t i o ns i n Ha r l em. The
Negr o
i n Ha r -
l em: A
Repo r t
o n So ci a l a nd Eco no mi c
C o ndi t i o ns
Res po ns i bl efo r
t he
Ou t br ea k o f
Ma r ch
I9, I935. N.Y., I935.
New Yo r k Fo u nda t i o n.
Repo r t
o n t he Ha r -
l em
Pr o ject by
t he Res ea r ch C o mmi t t ee.
N.Y., I947, 1949.
New Yo r k Ur ba n
Lea gu e. Twent y -Fo u r
Hu ndr ed
Negr o
Fa mi l i es i n Ha r l em....
N.Y., 1927.
Ot t l ey ,
Ro i . "New Wo r l d
A-C o mi ng":
In-
s i de Bl a ck Amer i ca . Bo s t o n, I943.
Ovi ngt o n, Ma r y
Whi t e.
Ha l f
a Ma n: The
St a t u s
o f
t he
Negr o
i n New
Yo r k.
N.Y.,
1911.
. The Wa l l s C a me
Tu mbl i ng
Do wn:
Ho w t he N.A.A.C .P.
Bega n. N.Y., I947.
Reco r d, Wi l s o n. The
Negr o
a nd t he C o m-
mu ni s t
Pa r t y . C ha pel Hi l l , I941.
Rei d,
Ir a De A. The
Negr o Immi gr a nt :
Hi s
Ba ckgr o u nd,
C ha r a ct er i s t i cs a nd So ci a l Ad-
ju s t ment , I899-1937. N.Y., 1939.
Si mo n,
Ka t e. New Yo r k Pl a ces & Pl ea s u r es .
N.Y., I959.
Sper o , St er l i ng D.,
a nd
Ha r r i s ,
Abr a m L.
The Bl a ck
Wo r ker . N.Y., I931.
Ta eu ber ,
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i n C i t i es .
C hi ca go ,
I965.
U.S. Bu r ea u o f La bo r St a t i s t i cs .
Negr o es
i n
t he Uni t ed St a t es : Thei r Eco no mi c a nd So -
ci a l Si t u a t i o ns .
Wa s hi ngt o n, D.C ., 1966.
Wea ver ,
Ro ber t C .
Negr o
Ghet t o .
N.Y.,
1948.
Wel fa r e C o u nci l o f New Yo r k
C i t y .
C ent r a l
Ha r l em St r eet C l u bs
Pr o ject . Wo r ki ng
wi t h
Teen-Age Ga ngs . N.Y., 1950.
Wo o ds o n,
C a r t er G. A
C ent u r y o f Negr o
Mi gr a t i o n. Wa s hi ngt o n, D.C ., I9I8.
BIOGRAPHIES
Bu l l o ck, Ra l ph
W. In
Spi t e o f Ha ndi ca ps :
Br i ef Bi o gr a phi ca l Sket ches o f Ou t s t a ndi ng
Li vi ng Negr o es .
N.Y.
1927.
Ku gel ma s s , Jo s eph
Al vi n.
Ra l ph
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Jo nes ,
C l a u di a . Ben
Da vi s , Fi ght er fo r
Fr ee-
do m,
wi t h a n Int r o du ct i o n
by
Es l a nda
Go o de Ro bes o n.
Br o o kl y n, N.Y., 1954.
Du Bo i s ,
W.E.B. Du s k
o fDa wn. N.Y., I940.
Br o der i ck,
Fr a nci s L. W.E.B. Du Bo i s . St a n-
fo r d, C a l i f., I959.
Ru dwi ck,
Fr a nci s L. W.E.B. Du Bo i s ....
Du Bo i s ,
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New
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Hu nt o n,
Addi e D. Wi l l i a m
Al pheu s
Hu n-
t o n ...
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Jo hns o n, Ja mes
Wel do n.
Al o ng
Thi s
Wa y .
N.Y., 1933.
C o pel a nd, Geo r ge
Edwa r d. Ja mes Wel do n
Jo hns o n,
A
Bi bl i o gr a phy . N.Y., I951.
Phel ps -St o kes
Fu nd. Edu ca t i o n Fo r
Li fe:
Phel ps -St o kes
Fu nd a nd Tho ma s
Jes s e
Jo nes .
A
Twent y -fi ft h Anni ver s a r y
-
1913-
1937. N.Y., I937.
Lee,
Reba
(ps eu d.).
I Pa s s ed Fo r Whi t e....
N.Y., I955.
Hu ber t , Ja mes Henr y .
The
Li fe o f
Abr a ha m
Li nco l n: The
Si gni fi ca nce
t o
Negr o es
a nd
Jews . N.Y., 1939.
Pi ckens , Wi l l i a m. Abr a ha m Li nco l n,
Ma n
a nd St a t es ma n. N.Y., 1930.
Qu a r l es , Benja mi n.
Li nco l n a nd t he
Negr o .
N.Y., 1962.
Lo t z, Phi l i p Henr y . Ri s i ng
Abo ve C o l o r .
N.Y., 1943.
Ovi ngt o n, Ma r y
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N.Y., 1927.
Po wel l ,
Ada m
C l a y t o n, Jr . Ma r chi ng Bl a cks .
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Lewi s ,
C l a u de. Ada m
C l a y t o n
Po wel l . Gr een-
wi ch, C o nn.,
1963.
Hi ckey ,
Nei l . Ada m
C l a y t o n
Po wel l
...
N.Y., 1965.
Ter r el l , Mr s .
Ma r y
C hu r ch. A C o l o r ed
Wo ma n i n a Whi t e Wo r l d.
Wa s hi ngt o n,
D.C ., 1940.
Whi t e,
Wa l t er Fr a nci s . A Ma n C a l l ed
Whi t e.
N.Y., I948.
C a nno n,
Po ppy .
A Gent l e
Kni ght , My
Hu s -
ba nd,
Wa l t er Whi t e. N.Y., I956.
ESSAYS
Ada ms , Ju l i u s .
The
C ha l l enge:
A
St u dy
i n
Negr o Lea der s hi p. N.Y., I949.
Ba l dwi n, Ja mes .
The Fi r e Next Ti me. N.Y.,
I963.
.
No bo dy
Kno ws
My
Na me. N.Y.,
I96I.
. No t es
o fa
Na t i ve So n.
Bo s t o n, I955.
Du Bo i s ,
W.E.B. So u l s
o f Bl a ck Fo l k.
N.Y.,
I903, I905, I907, I920, I953, I961.
El l i s o n, Ra l ph.
Sha do w a nd Act . N.Y., I964.
Lo cke,
Al a i n. The New
Negr o . N.Y., I925.
Wi s h, Ha r vey .
The
Negr o
Si nce Ema nci -
pa t i o n. Engl ewo o d C l i ffs , N.J., 1964.
C o nt empo r a r y
Ha r l em
As hmo r e, Ha r r y
S. The Ot her Si de
o f
o r da n.
N.Y., 1960.
"Fi ft h Avenu e
Upt o wn:
A Let t er fr o m
Ha r l em,"
a nd "Ea s t Ri ver
Do wnt o wn, Po s t s cr i pt
t o a Let t er fr o m
Ha r l em,"
i n
Go l d, Her ber t ,
Fi r s t Per s o n
Si ngu l a r , Es s a y s
fo r t he Si xt i es .
N.Y., I963.
282
Pho t o gr a ph: Geo r ge Fr y e
Beha n,
Br enda n. Br enda n Beha n's New
Yo r k.
N.Y., 1964.
Bo nt emps , Ar na ,
a nd
C o nr o y , Ja ck. Any -
pl a ce
bu t Her e. N.Y., 1966.
Bo t ki n,
B.A. New
Yo r k C i t y Fo l kl o r e. N.Y.,
1956.
Br o der i ck,
Fr a nci s L.,
a nd
Mei er , Au gu s t
(eds .). Negr o
Pr o t es t
Tho u ght
i n t he Twen-
t i et h
C ent u r y . Indi a na po l i s , 1966.
Br o wn,
C l a u de. Ma nchi l d i n t he Pr o mi s ed
La nd.
N.Y., I965.
C l a r k,
Kennet h Ba ncr o ft .
Da r k
Ghet t o .
N.Y., I965.
.
Negr o
Pr o t es t . Bo s t o n, I963.
C l a r ke, Jo hn
Henr i k
(ed.). Ha r l em,
A C o m-
mu ni t y
i n Tr a ns i t i o n. N.Y., I964.
.
Ha r l em,
U.S.A.
-
The
St o r y o f
a
C i t y
Wi t hi n a
C i t y . Ber l i n, 1964.
C o l u mbi a
Uni ver s i t y
Bu r ea u o f
Appl i ed
So -
ci a l Res ea r ch. A Ha r l em Al ma na c. N.Y.,
I964.
C r u s e,
Ha r o l d. C r i s i s
o f
t he
Negr o
Int el l ec-
t u a l . N.Y., I967.
De
C a r a va , Ro y ,
a nd
Hu ghes , La ngs t o n.
The Sweet
Fl y pa per o f Li fe. N.Y., 1955.
Di s s ent
(per i o di ca l ).
The Ra di ca l
Ima gi na -
t i o n: An
Ant ho l o gy fr o m
Di s s ent
Ma ga -
zi ne. N.Y., I967.
Du Bo i s , W.E.B. An ABC
o f
C o l o r ....
Ber l i n, I963.
Ga r fi nkel , Her ber t . When
Negr o es
Ma r ch:
The Ma r ch o n
Wa s hi ngt o n
Mo vement i n
t he
Or ga ni za t i o na l Po l i ci es fo r
t he F.E.P.C .
Gl enco e, Il l ., 1959.
Ha r l em Fr eedo m Scho o l .
Afr i ca ,
Lo s t a nd
Fo u nd
(Pho no di s c). N.Y., I964.
Ha r l em
Nei ghbo r ho o ds
As s o ci a t i o n. New
Yo r k Yo u t h Ser vi ces C o mmi t t ee
Di r ect o r y
o f
So ci a l
Wel fa r e
a nd Hea l t h Ser vi ces
Ava i l a bl e t o C ent r a l Ha r l em.
N.Y., 1966.
Ha r l em Yo u t h
Oppo r t u ni t i es Unl i mi t ed,
New Yo r k. Yo u t h i n t he Ghet t o . N.Y.,
1964.
Ha r r i ngt o n,
Ol i ver . Bo o t s i e a nd Ot her s .
N.Y., I958.
Ha r r i s , Ri cha r d E.
Del i nqu ency
i n Ou r
Demo cr a cy .
Lo s
Angel es , 1954.
Hent o ff, Na t . Ou r C hi l dr en Ar e
Dy i ng (pu b-
l i c
s cho o l s ). N.Y., 1966.
The
Bo o k o f Negr o Fo l k-
l o r e. N.Y., 1958.
. The
Bo o k o f Negr o
Hu mo r .
N.Y.,
I966.
Kr o s ney ,
Her ber t .
Bey o nd Wel fa r e: Po ver t y
i n t he
Su per ci t y . N.Y., 1966.
Levi t t ,
Hel en. A
Wa y o f Seei ng:
Pho t o -
gr a phs o f
New Yo r k.
N.Y., 1965.
McDa r r a h, Fr ed W. New
Yo r k, N. Y.: A
Pho t o gr a phi c
To u r
o f
Ma nha t t a n Is l a nd.
N.Y., I964.
Meet i ng o f
Ha r l em
C o mmu ni t y Repr es ent a -
t i ves wi t h
Ma y o r Wa gner
a nd C i t y
Offi ci a l s
a t C i t y Ha l l . N.Y., I959.
Kl ei n, Wo o dy .
Let i n t he Su n.
N.Y., 1964.
Lo ma x, Lo u i s . The
Negr o
Revo l t . N.Y., 1962.
- . When t he Wo r d Is Gi ven.
C l evel a nd,
1963.
Mi l l s t ei n, Gi l ber t . New Yo r k: Tr u e No r t h.
N.Y., I964.
Po l ner ,
Mu r r a y .
Wher e Sha l l We Ta ke t he
Ki ds ? Ga r den
C i t y , N.Y., 1961.
Po wel l ,
Ada m
C l a y t o n,
Jr .
Keep
t he Fa i t h,
Ba by . N.Y., I967.
Ra y ,
Ar chi ba l d. Al l
Sho o k Up. N.Y., 1958.
Ru s t i n, Ba y a r d.
"The Ha r l em Ri o t a nd
No n-Vi o l ence,"
i n
Ly nd, St a u ght o n,
No n-Vi o l ence i n Amer i ca .
Indi a na po l i s ,
I966.
Sext o n,
Pa t r i ci a
C a y o . Spa ni s h
Ha r l em.
N.Y., I965.
Sha pi r o ,
Fr ed C . Ra ce Ri o t s .... N.Y., I964.
St r i ngfel l o w,
Wi l l i a m.
My Peo pl e
Is t he En-
emy :
An
Au t o bi o gr a phi ca l
Po l emi c.
N.Y.,
1964.
Wa ki n, Edwa r d. At t he
Edge o f
Ha r l em.
N.Y., 1965.
Zi nko ff, Da ve. Ar o u nd t he Wo r l d wi t h t he
Ha r l em Gl o bet r o t t er s .
Phi l a del phi a , I953.
BIOGRAPHIES
Hedgema n,
Anna Ar no l d. The
Tr u mpet
So u nds : A Memo i r
o f Negr o Lea der s hi p.
N.Y., 1964.
Ka y i r a , Legs o n.
I Wi l l
Tr y .
Ga r den
C i t y ,
N.Y., I965.
Mo di s a ne, Bl o ke. Bl a me Me o n
Hi s t o r y .
N.Y., 1963.
Mu l s a c, Hu gh
Na t ha ni el . A St a r t o St eer
By .
N.Y.,
1963.
Schu y l er , Geo r ge
Sa mu el .
Bl a ck
a nd C o n-
s er va t i ve. New
Ro chel l e, 1966.
X,
Ma l co l m. The
Au t o bi o gr a phy o f
Ma l -
co l m X.
N.Y., 1965.
-- . Ma l co l m X
Spea ks .
N.Y., I965.
Br ei t ma n, Geo r ge.
The La s t Yea r
o f
Ma l -
co l m X.
N.Y., 1967.
Li t er a t u r e
Bo ne,
Ro ber t A. The
Negr o
No vel . New
Ha ven, 1958, 1965.
Br a wl ey , Benja mi n
Gr i ffi t h.
Ea r l y Negr o
Amer i ca n Wr i t er s .
C ha pel Hi l l , I935.
. The
Negr o
Geni u s .
N.Y., I937.
. The
Negr o
i n Li t er a t u r e a nd Ar t i n
t he Uni t ed St a t es .
N.Y., 19Io , 1918, 1929,
I937.
Br o wn, St er l i ng, Da vi s ,
Ar t hu r
P.,
a nd
Lee,
Ul y s s es (eds .).
The
Negr o
C a r a va n. N.Y.,
I94I.
.The
Negr o
i n Amer i ca n Fi ct i o n.
Wa s hi ngt o n,
D.C .,
I937.
.
Negr o Po et r y
a nd Dr a ma . Wa s h-
i ngt o n,
D.C ., I937.
C o nfer ence o f
Negr o
Wr i t er s . The Amer i -
ca n
Negr o
Wr i t er a nd Hi s Ro o t s . N.Y.,
1960.
Da edu l u s
(per i o di ca l ).
The
Negr o
Amer i ca n.
Bo s t o n, 1965, 1966.
Du nba r ,
Pa u l L. The
Spo r t o f
t he Go ds .
N.Y., 1902.
Fo r d,
Ni ck Aa r o n. The
C o nt empo r a r y Negr o
No vel . Bo s t o n, 1936.
Gl o s t er , Hu gh
Mo r r i s .
Negr o
Vo i ces i n
Amer i ca n Fi ct i o n.
Gr een,
Mr s . El i za bet h At ki ns o n. The Ne-
gr o
i n
C o nt empo r a r y
Amer i ca n Li t er a t u r e.
Gr o s s , Sey mo u r
L.
(ed.). Ima ges o f
t he Ne-
gr o
i n Amer i ca n Li t er a t u r e.
C hi ca go , 1966.
Hi l l ,
Her ber t .
Anger
a nd
Bey o nd.
N.Y.,
I966.
. So o n One
Mo r ni ng:
New
Wr i t i ng
by
Amer i ca n
Negr o es , 1940-1962. N.Y.,
1963.
The
La ngs t o n Hu ghes
Rea der .
N.Y., 1958.
Lo ggi ns ,
Ver no n. The
Negr o
Au t ho r . N.Y.,
1931.
New Yo r k Pu bl i c
Li br a r y .
The
Negr o
i n t he
Uni t ed
St a t es ,
A Li s t
o f Si gni fi ca nt
Bo o ks .
N.Y., I965, I968.
Bo o ks a bo u t
Negr o Li fe fo r
C hi l -
dr en. N.Y., 1957.
BIOGRAPHIES
Eckma n, Fer n
Ma r ja . The Fu r i o u s
Pa s s a ge
o f Ja mes
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The
Bi g
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Jo hns o n,
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The
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ba r a nd
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Ker l i n, Ro ber t Tho ma s .
Negr o
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Thei r Po ems .
Wa s hi ngt o n,
D.C ., 1935.
Lo cke, Al a i n
LeRo y .
Fo u r
Negr o
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McKa y ,
C l a u de. A
Lo ng Wa y fr o m
Ho me.
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I937.
.
My
Gr een Hi l l s
o f
a ma i ca .
Unpu b-
l i s hed
MS, 1946.
.
Ri ght
Tu r n t o C a t ho l i ci s m.
Unpu b-
l i s hed
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Ma r i n, Ocet e Ant o ni o . El
Negr o Ju a n
La -
t i no , C u s a go Bi o gr a fi co y
C r i t i co . Gr a na da ,
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Spr a t l i n,
Va l a u r ez Bu r wel l .
Ju a n
La t i no ,
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Ta r r y ,
El l en. The Thi r d Do o r .
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Wr i ght ,
Ri cha r d.
Bl a ck Bo y .
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Fi ct i o n
Appel , Benja mi n....
The
Da r kSt a i n.
N.Y.,
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Ano t her
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N.Y.,
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.Go Tel l It o n t he Mo u nt a i n. N.Y.,
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.
Go i ng
t o Meet t he Ma n.
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. Gi o va nni 's Ro o m.
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Bo nt emps ,
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Bo y .
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t o n,
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C o nl a y ,
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C o nr a d,
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C u l l en, C o u nt ee. One
Wa y
t o Hea ven.
N.Y.,
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Du Bo i s , W.E.B. Bl a ck Fl a me,
A
Tr i l o gy :
The Or dea l
o f Ma ns a r t ,
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I959, I96I.
. Da r k Pr i nces s . N.Y., 1928.
. Qu es t o f
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El l i s o n, Ra l ph.
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. Ro ck. N.Y., I955.
. Thi s Is It . N.Y., 1956.
Fi s her , Ru do l ph.
The
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Ma n Di es : A
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Gu y ,
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phi a , 1966.
Hewl et t , Jo hn Henr y .
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.... The
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N.Y.,
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. C o t t o n C o mes t o Ha r l em.
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. C o u che da ns l e Pa i n.
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. Da r e-Da r e.
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. The Hea t 's On. N.Y., 1966.
. Ma mi e Ma s o n. Pa r i s , 1962.
.Pi nkt o es ,
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- . l l Pl eu t des
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Ho r wi t z, Ju l i u s .
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The Bes t
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. Si mpl e
Ta kes a
Wi fe.
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.Si mpl e's
Uncl e Sa m. N.Y., 1965.
(ed.).
Bes t Sho r t St o r i es
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- .
La u ghi ng
t o
Keepfr o m C r y i ng.
N.Y.,
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- . No t wi t ho u t
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.Si mpl e Spea ks
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- .
Si mpl e
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-- . Ta mbo u r i nes t o
Gl o r y .
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.
"Why ,
Yo u
Recko n,"
i n McC u l -
l o u gh,
Es t her M. As I
Pa s s ,
0 Ma nha t t a n.
N.Y., 1956.
Jo hns o n, Ja mes Wel do n. The
Au t o bi o gr a phy
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a n Ex-C o l o r ed Ma n. N.Y., I912-I927,
1948, 1951, I960.
Jo s eph,
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Ka u fma n, Bel .
Up
t he Do wn St a i r ca s e. En-
gl ewo o d C l i ffs , N.J., 1964.
Kl a s s ,
Shei l a So l o mo n. C o me Ba ck o n Mo n-
da y .
N.Y., 1960.
Ma y fi el d, Ju l i a n.
The Hi t .
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. The
Lo ng Ni ght . N.Y., 1958.
Ma u r i qu e,
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McKa y ,
C l a u de.... C o ckt a i l
Negr o .
Ma -
dr i d, 1931.
. Ho me t o Ha r l em. N.Y., 1928, I951.
.
Qu a r t i er
No i r . Pa r i s , 1932.
. Qu a s i Bl a nca . Ba r cel o na , I938.
. Ri t o r no a d Ha r l em. Mi l a n, 1930.
Mi l l er , Wa r r en. The C o o l Wo r l d. Bo s t o n,
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. The
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1964.
Offo r d,
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Or ns t ei n,
Wi l l i a m.
Deep
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Da l l a s ,
1953.
Pa r ks ,
Go r do n. The
Lea r ni ng
Tr ee. N.Y.,
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Pet r y ,
Ann
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La Ru e.
Pa r i s , 1948.
- . The St r eet . Bo s t o n, 1946.
Po wel l ,
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C l a y t o n,
Sr .
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284
Ro bi ns o n, Jo hn
Ter r y .
Whi t e Ho u s e i n Ha r -
l em. N.Y., 1956.
Tho ma s ,
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N.Y., 1967.
Va n
Vecht en,
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Ni gger
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. II Pa r a di s o dei
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- Pa r t i es . N.Y., 1930.
Wa l l a nt ,
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Wr i ght ,
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News pa per s
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The Ar t s
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2 vo l s . New Or l ea ns ,
I937-I939.
Br o wni es Bo o k. N.Y., 1920-1921.
The
C ha ngema ker s .
Vo l .
I,
No .
I. N.Y.,
I965.
The C o l o r ed Amer i ca n. N.Y., 1837-1842.
The C o l o r ed Amer i ca n
Ma ga zi ne.
N.Y.,
I900-I909.
C r i s i s .
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Fr eedo mwa y s .
N.Y., 196 -.
Ha r l em
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Vo l . I,
No . I.
Ju ne I937-
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Ha r l em Fr i ends hi p
Ho u s e News
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C a t h-
o l i c
Int er r a ci a l i s t ). C hi ca go , 1941-1955.
Ha r l em
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Pu bl i s hed
by
a nd
fo r t he s t u dent s o f Ha r l em
Eveni ng Hi gh
Scho o l , New Yo r k. N.Y., I94I-I947.
Ha r l em
Ho s pi t a l
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I96I.
Ha r l em
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I,
No . I. N.Y.,
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The Ho me a nd
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Pu bl i s hed
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t he Ha r l em
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a nd
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Int er r a ci a l Revi ew. N.Y., I928-I966.
The
Jo u r na l o f Negr o
Edu ca t i o n.
Wa s hi ng-
t o n, D.C ., I932
-.
The Jo u r na l
o f Negr o Hi s t o r y . Wa s hi ngt o n,
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The
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New
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New Yo r k Ams t er da m News . N.Y., 1922
-.
New
Yo r k
C o u r i er
(s o met i mes
ca l l ed t he
New Yo r k Edi t i o n o f t he
Pi t t s bu r gh
C o u -
r i er ). N.Y., I957-.
Oppo r t u ni t y
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N.Y.,
I923-1949.
Po et r y
Benet ,
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Bo nt emps ,
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Br a i t hwa i t e,
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ems . N.Y., 1948.
Br o o ks ,
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C l a r ke, Jo hn
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Rhy me.
Pr a i r i e
C i t y , Il l ., 1948.
Ja mes Ba l dwi n,.
Pho t o gr a ph:
St eve
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Bl a ck St a r
C u l l en, C o u nt ee. Ba l l a d
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.
C a r o l i ng Du s k. N.Y., 1927.
Di s mo nd, Henr y Bi nga .
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Du nba r ,
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Ha y den,
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As k Yo u r Ma ma . N.Y.,
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- . Dr ea m
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---. Fi el ds
o f
Wo nder . N.Y., 1947.
. Fi ne C l o t hes t o t he
Jew. N.Y., 1927.
.
Mo nt a ge o f
a Dr ea m
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. New
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---. One-Wa y Ti cket . N.Y., I949.
--- . Pa nt her a nd t he La s h.
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---.
Po et r y o f
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. Sel ect ed Po ems . N.Y., 1959.
---.
Sha kes pea r e
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.
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Jo hns o n, Geo r gi a Do u gl a s .
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-- .
Fi ft y
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. Go d's Tr o mbo nes .
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-- . Sa i nt Pet er Rel a t es a n Inci dent . N.Y.,
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Jo nes ,
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--- . Dea d Lect u r er . N.Y., 1964.
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Pr efa ce
t o a
Twent y
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Ker l i n,
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C o nt empo r a r y
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et r y o f
t he
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La t i mer ,
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McKa y ,
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Pa r ks ,
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To l s o n,
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To ma s ,
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Vo i ces ,
A
Qu a r t er l y o f Po et r y .... Negr o
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Br a t t l ebo r o , Vt ., 1950.
Wa l ker , Ma r ga r et .
Fo r
My Peo pl e.
New
Ha ven,
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BIOGRAPHIES
Di nger ,
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A
St u dy o f
C o u n-
t ee C u l l en.
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Fer gu s o n,
Bl a nche. C o u nt ee C u l l en a nd t he
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Br a wl ey , Benja mi n
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C ha pel Hi l l , I936.
C u nni ngha m, Vi r gi ni a .
Pa u l La u r ence Du n-
ba r . N.Y., 1947.
Thea t er
The
Apo l l o
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Bo nd,
Fr eder i ck Wel do n. The
Negr o
a nd
t he Dr a ma .
Wa s hi ngt o n,
D.C ., I940.
Fl et cher ,
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t he
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Hu ghes , La ngs t o n. Bl a ck Ma gi c. Engl ewo o d
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Is a a cs ,
Edi t h
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The
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i n t he Amer -
i ca n Thea t r e.
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Mi t chel l ,
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New Wo r l d
A-C o mi ng (a
s er i es o f
weekl y
r a di o
pr o gr a ms
fr o m
WMC A).
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Pa t t er s o n, Li nds a y (ed.). Ant ho l o gy o f
t he
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Pl a y s
Pu bl i s hed a nd
Unpu bl i s hed
Bl u es
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Mi s t er C ha r l i e.
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Br a dfo r d,
Ro a r k.
Jo hn Henr y .
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Br a nch,
Wi l l i a m Bl a ckwel l . "In
Spl endi d
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. A Meda l Fo r Wi l l i e.
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Bu r gi e, Ir vi ng,
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C o nnel l y ,
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C o o per ,
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C o t t er , Jo s eph
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The
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C u l ber t s o n,
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C u l l en, C o u nt ee,
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Wa s hi ngt o n,
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Fa s t , Ho wa r d. The Hi l l . Ga r den
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Fi s her , Ru do l ph.
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Genet , Jea n.
The
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Gr a i nger ,
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. "We's Ri s i n'."
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Gr een, Pa u l . The Fi el d
Go d,
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ha m's Bo s o m.
N.Y., 1927.
- . The Ho u s e
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Ha ns ber r y ,
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Hey wa r d, Do r o t hy
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Hey wa r d,
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The Ba r r i er .
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--- .
Bl a ck
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---- . Ju bi l ee.
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.
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- . 2
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.
Si mpl e
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A
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.
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A
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Jo nes ,
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Lo cke,
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Mey er ,
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New
Bedfo r d, Ma s s ., 1932.
Mi t chel l ,
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No r fo r d, Geo r ge. Jo y Exceedi ng Gl o r y :
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O'Nei l l , Eu gene
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Ovi ngt o n, Ma r y
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Pet er s ,
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Pet er s o n,
Lo u i s St a mfo r d. Ta ke a Gi a nt
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Ra pp,
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a nd
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Imp o f
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. The
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Pi l l a r
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Da vi s ,
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De
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The
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Ter kel ,
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Wi l l i a ms ,
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Ar ms t r o ng,
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---
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Go ffi n, Ro ber t . St o r m
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La mber t , Geo r ge
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1946.
Ar mi t a ge,
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The
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Fa t her
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Ha r r i s , C ha r l es
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Ho l i da y ,
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Bo wdo i n
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C hi ca go
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Exhi -
bi t i o n
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...
C hi ca go , 191 .
C hi ca go
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. . .
Su bject
Index t o Li t er a t u r e o n
Negr o
Ar t ....
C hi ca go , 1941.
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t he
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i n
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hi bi t i o ns wer e hel d i n New Yo r k a nd
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Al ber t . Ha r l em a s Seen
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30
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Na t i o na l C o nfer ence o f Ar t i s t s .... A Pr i nt
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Ma nu s cr i pt s , Pa i nt i ngs , Engr a vi ngs , Scu l p-
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Pr o gr es s o f
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St a t e
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BIOGRAPHIES
Mi l l er , Henr y .
The
Ama zi ng
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Bea u fo r d DeLa ney .
Yo nker s , 1945.
Amer i ca n Feder a t i o n o f Ar t i s t s .
Ja co b
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Sci ence a nd Invent i o n
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-- ....
Int egr a t i o n o f
t he
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i n Amer -
i ca n
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Ha s t i e,
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Jo hns o n,
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Negr o
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Ra l ei gh, N.C .,
1903.
La t i mer ,
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t r i c
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Mo r ga n
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Md. The
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Mo r a i s ,
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Rei t zes ,
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Spencer ,
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Sy mpho ny ,
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t he C o nt r i bu t i o ns
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t o Medi ca l
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BIOGRAPHIES
Ha r dwi ck,
Ri chl a nd. C ha r l es Ri cha r d Dr ew:
Pi o neer i n Bl o o d Res ea r ch. N.Y., 1967.
Mi l l er , Fl o y d.
Ahdo o l o ! The
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Ro bi ns o n, Br a dl ey .
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Hu r s t o n,
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Phi l a del phi a ,
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Pey t o n,
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Lo s
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Spo r t s
Ba l t i mo r e Mu s eu m o f Ar t . Ma n i n
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1968.
Bo nt emps ,
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Hender s o n,
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Spo r t Ma ga zi ne.
The
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Ma r ch
I960).
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BIOGRAPHIES
Ar ms t r o ng, Henr y . Gl o ves , Gl o r y
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Wes t wo o d, N.J., 1956.
Aa r o n, Henr y ,
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Sha pi r o ,
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Br o wn, Ji mmy ,
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C a mpa nel l a , Ro y .
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Bo s t o n,
1959.
Scho o r ,
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Ro y C a mpa nel l a ,
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Su l l i va n, Geo r ge
E. Wi l t C ha mber l a i n. N.Y.,
1966.
Ol s en, Ja ck.
Bl a ck Is Bes t : The Ri ddl e
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Lewi s ,
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Su l l i va n, Geo r ge
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Gi bs o n, Al t hea . I
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Jo hns o n, Ja ck. Ja ck Jo hns o n i n t he
Ri ng
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288
THE METROPOLITAN MUSEUM OF ART
BOARD OF TRUSTEES
Robert Lehman, Chairman Arthur A.
Houghton, Jr.,
President
Walter C. Baker, l'ice-President C. Douglas Dillon, Vice-President J. Richardson
Dilworth, Vice-President
Malcolm P. Aldrich
Mrs. Vincent Astor
John
R. H. Blum
R.
Manning
Brown, Jr.
Mrs.
McGeorge Bundy
Daniel P. Davison
Mrs.
James
W.
Fosburgh
Peter H. B.
Frelinghu
Roswell L.
Gilpatric
James
M. Hester
Devereux C.
Josephs
Andre
Meyer
Henry
S.
Morgan
John V.
Lindsay, Mayor of
the
City of
New York
Mario A. Procaccino, Comptroller of
the
City of
New York
Henry
C. Alexander
Mrs. Harold L. Bache
Dwight
D. Eisenhower
Roy
R.
Neuberger
C. Michael Paul
Elective
lysen
Ex Officio
Emeritus
Cleo Frank
Craig
Honorary
Henry Ittleson, Jr.
Nelson A. Rockefeller
Richard M.
Paget
Mrs. Charles S.
Payson
Robert M.
Pennoyer
Richard S. Perkins
Francis T. P.
Plimpton
Roland L. Redmond
Francis
Day Rogers
Arthur O. Sulzberger
Irwin
Untermyer
Arthur K. Watson
Mrs. Sheldon Whitehouse
Arnold
Whitridge
Charles B.
Wrightsman
August Heckscher, Administratorfor Parks, Recreation,
and Cultural
Affairs
Alfred Easton Poor, President
of
the National
Academy of Design
Mrs.
Ogden
Reid
Alastair
Bradley
Martin
Craig Hugh Smyth
Millard Meiss
R. Thornton Wilson
STAFF
Thomas P. F.
Hoving,
Director
Joseph
V. Noble, Vice-Directorfor
Theodore Rousseau, Vice-Director,
Daniel K. Herrick, Vice-Directorfor
Administration Curator in
Chief
Finance and Treasurer
Dudley
T.
Easby, Jr., Secretary
Arthur Roscnblatt, Administratorfor Ashton IHawkins,
Assistant
Secretary
Richard R. Morsches, Operating
Architecture and
Planning
Administrator
Barbara Vona, Administrative Assistant
Arthur Klein, Supervisor of
Plans and Construction
John
E. Buchanan, Archivist
Sally
Mason, Administrative Assistant
Mildred S. McGill,
Assistant
for
Loans
Carolyn
L. Richardson, Administrative Assistant
Robert A. Pierson, Assistant Treasurer
Mlaurice K. Viertel, Controller
James
0. Grimes, City
Liaison
George
M. Benda, Auditor
Ann Marie Bustillo,
Administratite Assistant
Alfred B. Cartier, Jr., Manager of
Personnel
Jessie L. Morrow, Placement iManager
Robert
Chapman, Building Superintendent
Walter Cadette,
Captain of
Attendants
Stuart Silver, Manager,
Exhibition
Design
Theodore Ward, Purchasing Agent
William F. Pons, Manager, Photograph
Studio
Eloise Bruce, Restaurant
Manager
Betsy Mason, Manager of Qffice
Service
AMERICAN PAINTINGS AND SCULPTURE: Jolhn K. Howat, Associate Curator in
Charge
AMERICAN WING:
Berry
B.
Tracy,
Curator.
Mary
C. Glaze,
Associate Curator
ANCIENT NEAR EASTERN ART:
Vauglln
E. Crawford, Curator. Prudence Oliver
Harper,
Associate Curator. Oscar White Muscarella, Assistant Curator
ARMS AND ARMOR: Helmut Nickel, Curator.
Harvey Murton,
Armorer
CONTEMPORARY ARTS:
Heniry Gcldzahler, Curator
THE COST'UME INSTITUTE: Polaire Weissman, Executive Director. Stella Blum
and Mavis Dalton, Assistant Curators
DRAWINGS: Jacob Bean, Curator. Merritt Safford, Conservator
of
Drawings
and Prints
EGYPTIAN ART: Henry G. Fischer, Curator. Nora Scott and Eric Young,
Associate Curators.
Virginia Burton, Assistant Curator
EUROPEAN PAINTINGS: Claus Virch, Curator. Margaretta
M.
Salinger,
Eliza-
beth E. Gardner, and
Guy-Philippe
de Montebello, Associate Curators.
Hubert F. von
Sonnenburg, Conservator of Paintings
AUDITORIUM EVENTS: Hilde
Limondjian, Manager
BOOK SHOP AND REPRODUCTIONS: Bradford D. Kelleher, Sales
Manager.
Margaret
S.
Kelly,
General
Supervisor,
Art and Book
Shop.
Daniel S.
Berger,
Assistant to the Sales
Manager
CONSERVATION: Kate C. Lefferts, Conservator
EDUCATION:
Harry
S. Parker III, Chairman. Thomas M. Folds, Dean. Louise
Condit, Associate in
Charge of
the Junior Museum.
John Walsh, Associate for
Higher
Education.
Angela
B. Watson and Roberta Paine, Senior Lecturers.
Merrill A. Lake, Assistant to the Dean
LIBRARY: Elizabeth R.
Usher, Chief
Librarian
FAR EASTERN ART:
Fong
Chow, Associate Curator in
Charge. Jean
K. Schmitt,
Assistant Curator
GREEK AND ROMAN ART: Dietrich von Bothmer, Curator. Brian F. Cook,
Associate Curator. Andrew Oliver, Jr.,
Assistant Curator
ISLAMIC ART: Don Aanavi, Assistant Curator
MEDIEVAL ART AND THE CLOISTERS: Florens Deuchler, Chairman. William H.
Forsyth,
Curator
of
Medieval Art. Vera K. Ostoia and Carmen G6mez-Moreno,
Associate Curators. Thomas Pelham Miller, Executive Assistant at The Cloisters.
Bonnie
Young,
Senior Lecturer,
The Cloisters
MLUSICAL INSTRUMENTS: Emanuel Winternitz, Curator
PRINTS: John J. McKendry,
Curator. Janet
S.
Byrne,
Associate Curator.
Caroline
Karpinski
and
Mary
L.
Myers,
Assistant Curators
WES'IERN EUROPEAN ARTS:
John
Goldsmith
Phillips,
Chairnian. Carl Christian
Dautcrman, James Parker, and
Olga Raggio,
Curators. Edith A. Standen and
Jean Mailcy, Associate Curators,
Textiles. Yvonne Hackenbroch, Senior Re-
search Fellow.
Jessie
McNab Dennis and Clare Vincent, Assistant Curators
MENMBERSIHIP: Dorothy Weinberger, Manager.
Suzanne Gauthier,
Assistant
Manager
IIIOTOGRAPI AND SLIDE LIBRARY:
Margaret
P. Nolan, Chief
Librarian
PUBLIC RELATIONS: Eleanor D. Falcon, Manager.
Katherine Warwick, Senior
Writer.
Ryna
A.
Segal,
Writer. Joan Stack, Manager, Information
Service
PUBLICATIONS: Leon Wilson, Editor. Jean Leonard,
Anne Preuss,
and Kath-
arine H. B. Stoddert,
Associate Editors. Allan
J. Brodsky
and Joan
K.
Foley,
Assistant Editors
REGISTRAR AND CATALOGUE: William D. Wilkinson, Registrar. Hugh
G.
O'Neill,
Assistant
Registrar.
Hanni Mandel, Computer Systems
Information
THE SMAIN BUILDING:
Open weekdays, except Tuesdays, Io-5; Tuesdays
Io-io;
Sundays
and
holidays 1-5. Telephone: TRafalgar 9-5500.
The Restaurant is
open weekdays 11:30-2:30; Tuesday evenings 5-9; Sundays 12-3;
closed holi-
days.
Coffee hours:
Saturdays 3-4:30;
Sundays
3:30-4:30.
TIlE CLOISTERS:
Open weekdays, except Mondays, Io-5; Sundays
and holi-
days 1-5 (May-September, Sundays 1-6). Telephone:
WAdsworth 3-3700.
MEMBERSHIP: Information will be mailed on
request.
www.jstor.org

The Metropolitan Museum of Art Bulletin V 27 No 5 January 1969

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The Metropolitan Museum of Art Bulletin V 27 No 5 January 1969

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