The Cincinnati Museum of Art lays claim to being the first U.S. art museum to purchase and display a collection of African art in 1899 after buying the collection of Carl Steckelmann, who had worked as a trading agent in Africa for a decade. Natural history museums and private collectors began to collect African art more intensely throughout the late 1800s thanks to improved travel to and more opportunities for trade and study in Africa, but, as Berzock and Clarke explain in their introduction, “it was the art museum that more profoundly shaped the representation of African art and pioneered its establishment and acceptance in both scholarly and public arenas.” Unfortunately, the sheer diversity of forms and materials used in African art, as well as the immense number of cultures largely unfamiliar to the West, “were not suited to the aesthetic hierarchies and systems of classification established by art museums,” Berzock and Clarke write.
At the heart of this classification conundrum rested the question of what is “art” and what is an “artifact.” Textiles and other functional items found themselves shuttled off to natural history museums, much like decorative quilts and other items associated with women suffered segregation from the art world. “Art” came to be identified with purely aesthetic qualities in the twentieth century museum in a formalistic approach that ignored the larger cultural context.
Clarke, who wrote her doctoral dissertation on African art at the Barnes Foundation, explains the central role of Dr. Barnes in developing a new vision of African art in America that would stand as an inspiration to the African-American community.
As Clarke demonstrates, Barnes’ fascination with “plastic form” in art led him “to regard African sculpture as the purest expression of three-dimensional form.” Barnes created the Barnes Foundation as an educational institution for all people, but had a specific interest in improving the lives of those who worked in his chemical factory, most of whom were black. After using his African art collection to educate his workers, Clarke writes,“Barnes [came] to see potential in African sculpture as an important tool for educational and social reform in the African American community.” At a time when African Americans still struggled for equality and a sense of pride, Barnes’ educational scheme offered them a way to look back at their African roots to look forward to greater things. The African-American artist Aaron Douglas attended the Barnes Foundation as a student and incorporated that cultural pride in his works, which is just one example of the power of Barnes’ plan.