Amanda Maples’ appointment as curator of African art at the New Orleans Museum of Art raises the question of diversity in curatorial roles. Image: New Orleans Museum of Art

In its appointment of Amanda M. Maples as Françoise Billion Richardson Curator of African Art, critics say the New Orleans Museum of Art failed to keep its promise for racial equity in hiring and diversity in curatorial roles.

BY KAZEEM ADELEKE, ARTCENTRON

Last week, the New Orleans Museum of Art (NOMA) made an announcement that stirred up considerable controversy. The museum revealed its decision to hire Amanda M. Maples, a white woman, as the Françoise Billion Richardson Curator of African Art. Social media commentators immediately lashed out in frustration, questioning why the position did not go to a black curator, as the appointment received immediate backlash. This controversy is an opportunity to explore the significance of diversity in curatorial roles, delve into the responses from both NOMA and the critics, and examine Amanda M. Maples’ background and qualifications.

The Power of Representation

Representation matters, especially in the realm of art and culture. Museums have a responsibility to curate exhibitions and collections that reflect the diversity and richness of the societies they serve. When it comes to curatorial roles, having individuals from different backgrounds, ethnicities, and perspectives is crucial. By diversifying their curatorial staff, museums can ensure a more comprehensive and authentic presentation of various art forms and cultural experiences.

The Controversial Appointment

The decision to hire a white woman for the role of the Françoise Billion Richardson Curator of African Art at NOMA sparked a passionate response from the public because people see it as a shocking betrayal of trust. At the height of the racial justice protests in the summer of 2020, NOMA  promised New Orleans’s Black community to address their concerns about racist incidents and microaggressions at the institution. More importantly, the institution promised to address the inequity in hiring and representation of Black people at the institution. In a statement addressing issues of racial injustice brought forward during the protest, the museum made many promises, including: “We can do better and we will. When we are able to rehire, we are 100% committed to expanding the diversity of our staff, in every department, at all levels.”

For many people, the hiring of Maples, a white woman, as the Françoise Billion Richardson Curator of African Art, is a shocking betrayal of the promise made to New Orleans’s Black community in 2020. The museum’s critics also voiced their concern that the person overseeing the efforts to showcase African history might dilute the experience by lacking firsthand knowledge or a deep understanding of the Black or African experience.

In response to this critique, NOMA did not address its duplicity. Instead, it defended its choice by highlighting Amanda M. Maples’ qualifications and unique perspective. The museum stated that Maples’ extensive experience, particularly her sustained collaboration with artists and institutions in Africa and around the world, set her apart from other candidates. They also emphasized her research and work in areas aligned with NOMA’s growth strategy, including a critical reconsideration of how North American museums collect and present African art.

Amanda M. Maples: Background and Expertise

The focus on Amanda M. Maples’ qualifications and experience is understandable. It is an exceptional diversion strategy that takes focus away from the main issue, which is the betrayal of trust. However, this diversionary tactic does not diminish Maples’ exceptional career and curatorial practice. She brings a wealth of knowledge and experience to her new role at NOMA. Maples holds a Ph.D. in Visual Studies from the University of California, Santa Cruz. She has previously worked as the curator of global African arts at the North Carolina Museum of Art. Her curatorial roles at esteemed institutions such as Stanford University’s Cantor Arts Center, the Yale University Art Gallery, and the National Museum of African Art, Smithsonian Institution, have further honed her expertise in African art.

Maples expressed her commitment to filling historical gaps in NOMA’s extensive collection, aiming to present the most comprehensive story of African art possible in response to her new position. She highlighted her aspiration to showcase the work of contemporary artists in Africa, thereby shedding light on their contributions to the art world. She notes: “As I continue to immerse myself in New Orleans, I am considering how to fill historical gaps in the museum’s extensive collection to tell the fullest story of African art possible and how NOMA can highlight the work of contemporary artists in Africa.”

The Museum’s Response

As the backlash on social media intensified, NOMA attempted to address the concerns surrounding Maples’ hiring, although without divulging extensive details about the hiring process. The museum reiterated that Maples’ experience and connections with African institutions significantly influenced her selection. The museum notes:

“While we can’t speak about others considered for this post, Maples’s breadth of experience and emphasis on sustained collaboration with artists and institutions in Africa and around the world set her apart from other candidates. Maples’s research and work focus on areas where NOMA is seeking to grow, including leading a crucial reconsideration of how North American museums collect and present African art.”

NOMA’s attempts to quell the backlash from Maples’ appointment did not hold water for critics who are unrelenting. In fact, it exacerbated their anger because of NOMA’s failure to address why it did not keep the promise it made to New Orleanians to ensure equity in diversity. They find it untenable that there were no other candidates of color, equally or more qualified than Maples, who could have been hired for the position. Furthermore, they argue that hiring a curator who is not a person of color for African art perpetuates a lack of representation and fails to capture the nuanced narratives within the art form.

The Broader Context: Diversity in Curatorial Roles

It is worth noting that this is not the first instance where a US museum has faced criticism for appointing a white woman as an African art curator. Back in 2018, the Brooklyn Museum encountered opposition when it selected Kristin Windmuller-Luna, a white woman, as an African art consulting curator. Similar to NOMA’s response, the Brooklyn Museum defended its decision by highlighting Windmuller-Luna’s curatorial approach and seeking support from field experts.

In addition to the Brooklyn Museum, other curators also defended the hiring of Windmuller-Luna. One notable supporter was the late Okwui Enwezor, who emphasized diversity but did not perceive any issue with Windmuller-Luna’s appointment. Chika Okeke-Agulu, an African art professor at Princeton University, also stood in favor of Windmuller-Luna. In a blog post titled “Brooklyn Museum, African Art, and the Matter of Diversity in the Artworld,” Okeke-Agulu expressed full support for her hire. He argued that while there is a need for greater diversification in curatorial, managerial, and professorial roles within museums and art history schools, it is illogical to claim that white individuals should not be curating or teaching African art.

From Brooklyn Museum to New Orleans Museum of Art

The hiring of Maples by NOMA is not just about race but also a betrayal of trust. The museum did not keep its promise to do better in its hiring practices and its 100% commitment to expanding the diversity of its staff in every department and at all levels. This is one reason Maples’ qualification has not been an issue. Despite all the controversy, what is not in doubt is that Maples is highly qualified for this position and has a world of experience in her field. She has curated important exhibitions on African art and has written several books on this topic.

During the height of the Windmuller-Luna uproar in 2018, Steven Nelson, the director of the UCLA African Studies Center, shed light on what he believed lay at the heart of the controversy. In an episode of the now-defunct podcast Code Switch, which delved into racial politics in popular culture, Nelson argued that the criticism aimed at the Brooklyn Museum stemmed from the misconception that African art scholars and curators were predominantly people of color. However, he highlighted that the field of African art history in the US is predominantly composed of white and female individuals. As one of the few African Americans specializing in African art history, he emphasized the scarcity of representation within the field. Nelson further expressed that there are systemic factors influencing the limited pool of eligible candidates for leadership positions within museums, stating, “There are very few of us in the field.”

Diversity in Curatorial Roles: The Furor Continues

As the furor continues, Maples continues doing what she can to help the museum achieve its goals. She is leading the team of curators organizing New Masks Now: Artists Innovating Masquerade in Contemporary West Africa, which is scheduled to open at NOMA in 2025. This exhibition delves into the contemporary practice of West African masquerade and signifies a noteworthy collaboration between institutions from North America and Africa, including NOMA and the Museum of Black Civilizations in Dakar, Senegal. Similar to her 2018 exhibition, Good as Gold: Fashioning Senegalese Women, at the National Museum of African Art, Smithsonian Institution, Maples sees this new exhibition as an opportunity to foster connections and understanding.

“It is crucial to create new models for museums to consider African art through a multiplicity of voices,” she said. She also added, “I look forward to building on sustained relationships with institutions in Africa, North America, and Europe while developing new partnerships with artists to present their work in New Orleans.”

Conclusion

The appointment of Amanda M. Maples as the Françoise Billion Richardson Curator of African Art at NOMA has ignited a conversation about the significance of diversity in curatorial roles and the need for trust. While museums should be commended for their efforts to expand the understanding and appreciation of art, it is vital that they prioritize diversity and inclusivity in their curatorial staff and remain truthful to the people they serve. By doing so, museums can ensure a more comprehensive and authentic representation of different cultures and foster a deeper connection between visitors and the artwork.