The California African American Museum (CAAM) continues to preserve the heritage and legacy of the Black Diaspora of the Golden State. As the fall season approaches, curator Jill Mmoniz examines the timehonored tradition of metal working, going back to the West African iron working cultures of Nigeria’s Yoruba and the Mandé peoples of Ghana.
On the other side of the globe, slave owners exploited their newly indentured servant’s talents in craving plantations from the virgin resources of the New World. 20th and 21st century artists including John Outterbridge and Betye Saar use these conventions to provide commentary on the plight of the descendants of theseunfortunates. “LA Blacksmith” runs from Sept. 10 through Feb. 16, 2020. Perhaps no region of the United States is as rich culturally as the American South. As a testament to that region’s influence on California, “Dust My Broom: Southern Vernacular from the Permanent Collection” utilizes much of the artifacts on display from CAAM and local collections, to tell the story of how we continue to be inspiredby the sway of the south. Its title likely is a play on the blues standard “(I believe I’ll) Dust My Broom,” attributed to the legendary Robert Johnson, circa 1936, but especially Elmore James’ slide guitar inflected 1951version. “Dust My Broom” shows between Sept. 10 through Feb. 16, 2020.
In the process of wrestling wealth from America’s natural resources, rich (if often offensive) cultural stereotypes were initiated, shaping the world’s perception of this emerging nation. These caricatures remain with us to this day, for better or worse.
Acclaimed curator and native Angelino Tyree Boyd-Pates focuses his critical eye on an enduring impression of the Black American woman, i.e., the “Mammy.” An idealized caregiver, she remained devoted to the welfare of the White families she worked for, often at the neglect of her own biological offspring. Using a blend of photos, films and other visual artifacts, Boyd-Pates makes a point about this legacy that continue to haunt and impact our collective psyche. “Making Mammy: A Caricature of Black Womanhood, 1840-1940,” runs from Sept. 25 through March 1, 2020.
Given the axiom “Nobody actually comes from Los Angeles,” it helps to remember the City of Angeles does produce its fair share of notables and achievers. That said, CAAM is proud to showcase a true native sonof South Los Angeles (ala Dorsey High), one Timothy E. Washington, a product of LA’s own Chouinard Art Institute (now known as the California Institute of the Arts, or simply Cal Arts).
Washington merged his classical training into alignment with the social awareness of the times, while tweaking his fine art sensibilities at Gallery 32 and Leimert Park’s Brockman Gallery. Impacted by the upheaval of the1965 Watts Riot/Rebellion, he found solace in the retrieval of “found objects” utilized in the art assembly movement, via the juxtaposition of automobile parts and other discarded paraphernalia. “Timothy Washington: Citizen/Ship” runs from Sept. 25 through March 1, 2020.
Black culture made a beachhead of sorts in the late 20th century as American youth embraced the emerging Hip Hop lifestyle. A byproduct of this was the explosion of the urban apparel line Cross Colours launched by local entrepreneurs Carl Jones and T.J. Walker. Benefiting from exposure on the hit TV show “Fresh Prince of Bel Air” featuring media star Will Smith, this immersion into mainstream culture is fondly remembered in “Cross Colours: Black Fashion in the 20th Century,” from Sept. 25 through March 1, 2020.
The California African American Museum is located in Exposition Park, at 600 State Dr, Los Angeles, CA 90037. It is open 10 a.m. to 5 p.m. Tuesday through Saturday, and from 11 a.m. to 5 p.m. on Sunday. The museum isclosed on Mondays, and admission is always free.
