The National Museum of African Art is the Smithsonian Institution's African art museum, located on the National Mall of the United States capital. Its collections include 9,000 works of traditional and contemporary African art from both Sub-Saharan and North Africa, 300,000 photographs, and 50,000 library volumes. It was the first institution dedicated to African art in the United States and remains the largest collection. The Washington Post called the museum a mainstay in the international art world and the main venue for contemporary African art in the United States.
The museum was founded in 1964 by a former Foreign Service officer in Capitol Hill. The collection focused on traditional African art and an educational mission to teach black cultural heritage. To ensure the museum's longevity, the founder lobbied Congress to adopt the museum under the Smithsonian's auspices. It joined the Smithsonian in 1979 and became the National Museum of African Art two years later. A new, primarily underground museum building was completed in 1987, just off the National Mall and adjacent to other Smithsonian museums. It is among the Smithsonian's smallest museums.
The African art museum took a scholarly direction over the next twenty years, with less social programming. It collected traditional and contemporary works of historical importance. Exhibitions include both internal and borrowed works and have ranged from solo artists to broad survey shows. The museum hosts two-to-three temporary exhibitions and ten special events annually. The preferred abbreviation for its name is NMAfA.
History
In the late 1950s, American Foreign Service officer Warren M. Robbins purchased 32 pieces of African art in antique shops near Hamburg, Germany. In 1963, he founded the Center for Cross Cultural Communication, a non-profit educational institute and cultural center. In 1964, the Frederick Douglass House on Capitol Hill came on the market. Robbins put all of his savings down in cash for half of the purchase price and procured a mortgage for the rest. Money raised by the Center for Cross Cultural Communication enabled Robbins to found the Museum of African Art.
The museum was formally founded in 1964 as the Museum of African Art, and its first show consisted of the collection and two outside pieces. Under Robbins's tenure, the museum focused on traditional African art and its educational mission to teach black cultural heritage. It also served as a convivial meeting place for individuals interested in American racial politics, in keeping with the 1960s and 1970s Black Arts Movement effort to change American perceptions towards African cultures. Robbins referred to his museum as "an education department with a museum attached". By 1976, the African art museum had a 20-person staff, 6,000-object collection, and Robbins had visited Africa for the first time.
To ensure the museum's longevity, Robbins lobbied the national legislature (Congress) to absorb his museum into the Smithsonian Institution, a federal group of museums and research centers. The House of Representatives approved this plan in 1978 with backing from Representatives John Brademas, Lindy Boggs, Ron Dellums, the Congressional Black Caucus, and former Vice President Hubert Humphrey. The Smithsonian directors adopted the museum the following year and began plans to move the collection from the townhouses into a proper museum. In 1981, the museum was renamed the National Museum of African Art.
In early 1983, Sylvia Williams became the museum's director. Later that year, the Smithsonian broke ground on a new, dedicated building for the African art museum on the National Mall. The complex was situated mostly underground and expanded the museum's exhibition space upon its September 1987 opening. Over time, perspectives towards African art shifted from ethnographic interest to the study of traditional objects for their craftsmanship and aesthetic properties. Williams took a scholarly, art historian approach to the museum and pursued risky, high-cost pieces before their ultimate values were settled. The collection expanded into contemporary works and works from Arab North Africa, beyond the traditional Sub-Saharan. The museum's founder criticized this direction and felt that the institution was neglecting its public role for "esoteric scholarship".
Following Williams's death in 1996, curator Roslyn Walker served as director from 1997 through her 2002 retirement. Walker continued the direction of her predecessor and added a dedicated contemporary art gallery and curator. She also created a development office, which raised money for an early 2000s renovation of the museum's pavilion. Sharon Patton, former director of Oberlin College's Allen Memorial Art Museum, served as director between 2003 and 2008. Her tenure included more shows targeting children and an advisory board mass resignation over Smithsonian leadership.
Johnnetta Cole, an anthropologist and former president of Spelman and Bennett College, became the museum's director in 2009. Her tenure became associated with a controversial 2015 exhibit that featured works from comedian Bill Cosby's private collection just as allegations of sexual assault against him became public. Cole retired in March 2017 and was succeeded by British filmmaker, scholar, and curator Gus Casely-Hayford in February 2018.
In 2022, the museum returned 29 looted Benin Bronzes to Nigeria.
In 2021 museum consultant Ngaire Blankenberg became director, she left in 2023. The museum was scheduled for remodeling as part of the Smithsonian's South Mall project starting in 2014, but plans were subsequently scaled back.
Administration
As of the late 2000s, The Washington Post wrote that the museum struggled with low attendance, modest budget, concealed location, and leadership turnovers. Thirty years after joining the Smithsonian, the museum remains one of the smallest museums in the complex, with 213,000 visitors in 2016about half of the 2009 count and less than one percent of the 28 million annual Smithsonian visitors. This is due, in part, to its location, which is hidden from the National Mall by the original Smithsonian Institution Building, known as the Castle. Visitor numbers have fluctuated between 200,000 and 400,000 since the 2000s, and in the mid-2000s were comparable with its underground neighbor museum, the Sackler Gallery. The museum's annual budget has fluctuated from $4.3 million (late 1990s) to $6 million (mid-2000s), and was $5 million in 2016. By comparison, the museum had a 34-person staff in 2016, down from 48 in the late 1990s. Following Blankenberg's tenure, staff numbers dropped below 20. Like many other museums in the 2000s, the museum has sought private funding and endowments. It trailed behind other Smithsonian entities in fundraising campaigns, into which the museum was expected to pay about $2.1 million. In late 2016, the museum held its first annual African Arts Awards Dinner for more than 500 guests.
Architecture
The museum's National Mall building construction began in mid-1983. The project, which also included the Sackler Gallery for the Smithsonian's Asian art, created 368,000 square feet of exhibition space at the cost of $73.2 million, half of which from the federal government. Almost all of this room was created underground so as not to affect the quadrangle's landmark Smithsonian Institution Building (the Castle), its greenery, or its view. The Smithsonian Castle hides the museum and South Quadrangle from the National Mall, which has contributed to the museum's lower attendance compared with other Mall attractions. The quadrangle project's design architect was Jean-Paul Carlhian of Shepley, Bulfinch, Richardson & Abbott, based on a concept by Junzō Yoshimura. The two new museums had little involvement in the architectural designs drawn in the 1970s before their arrival.
The African art and Sackler buildings were built as twin pavilions, each one story above ground and with similar display space: five galleries each, and only one with natural light. They are differentiated by their roof adornments: domes on the African art building and pyramids on the Sackler. The African art pavilion was built in red granite and used the circle shape as its architectural theme, with round windows, a rounded entrance staircase, and six round domes on its roof. Inside, a limestone foyer overlooks the gardens. A curving stair hall leads visitors down curving stairs to the galleries. The galleries are large and customized by exhibition designers into smaller rooms to better suit small objects. The buildings are visible from Independence Avenue, and the new Enid A. Haupt Garden runs between them and the Smithsonian Institution Building. Underground, the museum and offices occupy the first two levels. A third level hosts exhibition and educational rooms. Its levels are connected by a three-story enclosed arcade with large skylights set into the gardens above, through several feet of dirt. The pavilion was renovated in the early 2000s with a significant donation from Eastman Kodak.
The museum was scheduled for remodeling as part of the $2 billion Smithsonian South Mall project. Plans from the Danish architects, Bjarke Ingels Group, would have replaced the above-ground pavilion with new mall-facing entrances. The renovation was intended to be supported by private and federal investment and was expected to begin in 2016 and finish in 10 to 20 years. These plans were canceled in 2021 after a broader restructuring of the South Mall renovation project.
Yinka Shonibare's Wind Sculpture VII was put on permanent display outside the museum in late 2016.
Collections
The National Museum of African Art was the first institution dedicated to African art in the United States, followed by the New York-based Center for African Art (now The African Center) in 1984. The National Museum's collection is more extensive. As of 2008, it consisted of 9,000 objects and 300,000 photographs. The objects range from 15th-century sculptures and masks to multimedia contemporary art, and the photographs include significant contributions from photojournalists Eliot Elisofon and Constance Stuart Larrabee. Elisofon covered major 20th-century events for Life, and Larrabee covered World War II and South African life. As of 2004, the museum had 400 contemporary artworks. The museum collects items for both their traditional uses and aesthetic values, and receives an average of 67 gifts annually. The breadth of its collections and special exhibitions made the museum "a solid force in the international art world" and the main venue for contemporary African art in the United States, according to The Washington Post.
As the museum moved to the National Mall in the mid-1980s, its permanent collection consisted of more than 6,000 art objects (e.g., sculpture, artifacts, textiles) and the large Elisofon photography collection. This original collection focused on Sub-Saharan Africa, with better representation of the Guinea coast and Western Sudan than the Central African region. The collection is idiosyncratic, reflecting the relative lack of colonial era African art acquisitions in American donor collections. Some early highlights of the museum's collection include an Edo–Portuguese ivory spoon and an Akan gold pendant bequeathed by the Robert Woods Bliss estate. The museum's first acquisitions budget came with joining the Smithsonian.