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    doing martin proud

    Groundbreaking showcase of centuries-old Black art makes milestone stop at Holocaust Museum Houston

    Craig D. Lindsey
    Jan 12, 2024 | 2:45 pm

    As the world pauses to honor the life and legacy of Martin Luther King, Jr., the work of a widely impactful – but lesser known — Black family gets a major showcase in Houston.

    Kinsey African American Art & History Collection

    Image courtesy of Bisa Butler and the Kinsey African American Art & History Collection

    The Boss, 2006, Quilted cotton, appliqué, by Bisa Butler.

    Holocaust Museum Houston will showcase The Kinsey African American Art & History Collection, now through June. Widely acclaimed and groundbreaking, the exhibition celebrating the achievements and contributions of Black Americans from 1595 to present day.

    Considered one of the most comprehensive surveys of African American history and culture outside of the Smithsonian Institution, the exhibition will feature over 100 of the shared treasures amassed by art collectors Bernard and Shirley Kinsey during their five decades of marriage. In total, the couple collected more than 1,000 works.

    Houston marks the 40th show for the exhibit, which has been seen by more than 16 million people nationwide. The Houston stop features 20 percent of never-been-seen paintings and sculptures, photographs, rare books, letters, manuscripts, and more.

    Prolific preservationists battling an ugly myth

    Prolific and ahead of their time, the Kinseys, a Black couple, vowed to travel to 100 countries when they wed in 1967. As they began collecting to mark each journey, their collection became a repository for African American intellectual, historical, and artistic works.

    Soon, the Kinseys realized that they knew little of their own history, largely due to the fact that for centuries, contributions made by African Americans in industry, art, science and politics have been omitted from history books.

    To that end, a primary theme for this exhibit is to battle that "Myth of Absence," as they call it. The family — Bernard, Shirley, and son Khalil — believe their collection helps give a well-rounded look at the African American experience and the integral roles African Americans played in building this country, providing new perspectives on chapters of the nation’s history which have been ignored.

    “The Kinsey Collection strives to give our ancestors a voice, a name and a personality, enabling the viewer to understand the challenges, obstacles, triumphs, accomplishments and extraordinary sacrifice of African Americans in building this country,” Bernard Kinsey noted in a statement.

    “This is an American story, and most people only know a fraction of it,” Khalil Kinsey, who, serves as general manager and chief curator for the collection and exhibitions, added.

    From slave ships to crowning achievements and moments

    Representing the intersection between art and history, the exhibition covers the lives, accomplishments and artistry of African Americans, from the 16th century through the years of slavery and emancipation to the civil rights movement and today. Important objects include bills of sale, advertisements, letters, and legal papers documenting the slave trade; hand-colored tintypes from the Civil War era; art and literature from the Harlem Renaissance; and items spotlighting key moments in the civil rights movement, including the Woolworth store boycotts and the 1963 March on Washington.

    A history of African Americans in art is charted through works by numerous celebrated artists, including Charles Alston, Richard Barthé, Bisa Butler, Elizabeth Catlett, Alma Thomas, Laura Wheeler Waring, Houston’s own Ava Cosey and many more.

    Triumph over trauma

    The Kinsey Collection has been cited in three national awards, including the National Medal for Museum and Library Service. Garnering national media attention and experienced by more than 16 million people, the groundbreaking exhibition has toured more than 35 cities in the U.S. and internationally, including the Smithsonian Institution’s National Museum of American History, The National Underground Railroad Freedom Center, EPCOT Walt Disney World, the University of Hong Kong Museum and Gallery, and California’s SoFi Stadium.

    “The Kinsey Collection highlights the resilience of African Americans despite a long history of discrimination and trauma,” said Alex Hampton, HMH’s changing exhibitions manager, in press materials. “It also shows the vital contributions Black people have made to American society despite this history.

    As a Holocaust and Human Rights museum, we want our exhibitions to bring communities together by illuminating the similarities in our histories while also keeping in mind the differences.”

    -----

    The Kinsey African American Art & History Collection will run through Sunday, June 23 in the Josef and Edith Mincberg Gallery of the Holocaust Museum Houston (5401 Caroline St.). For information on schedules, tickets, and free events, visit the HMH website.

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    Houston museum sounds off after vandals deface artist's painting

    Jef Rouner
    Jun 9, 2026 | 4:00 pm
    Clarence Heyward painting with damage at HMAAC
    Photo courtesy of HMAAC
    Clarence Heyward's Man in the Garden was intentionally damaged

    The Houston Museum of African American Culture (HMAAC) announced on Monday, June 8, that a museum visitor intentionally damaged one of its paintings on May 21. The damage included a puncture and large cut or scrape in a painting by North Carolina artist Clarence Heyward called Man in the Garden, part of the EDEN exhibition in the downstairs gallery.

    HMAAC CEO Emeritus and exhibition curator John Guess Jr. held a press conference at the museum on Tuesday, June 9, and said the vandalism was representative of continued bigoted attitudes in Houston.

    "If we're honest about it, this is a very racist town," he said. "We're the fourth-most economically segregated city in the country. Houston has the highest poverty rate of any of the 25 metropolitan cities. And no one talks about that.This town itself has some serious issues. We're demographically diverse, but we remain segregated."

    According to Guess, two young white men entered the museum carrying a large bag. They visited an exhibition of Kandy G. Lopez's work upstairs, where they asked a staff member to take a picture of them in front of a painting. When the staff member obliged, the two men made an obscene gesture at the work.

    Later, they briefly went downstair to the Heyward exhibit before quickly leaving. Afterwards, staff discovered the defacement. Unfortunately, the museum's cameras had malfunctioned the day before the attack, and a work order to repair them was placed hours before the suspects arrived.

    HMAAC says they have filed a report with HPD, but have not yet heard of any movement in the case. This incident is the first time that HMAAC has had a work defaced, though there have been previous incidences of threats against the museum in its logbook. A man also showed up at the museum in the past with a Bible claiming that God had told him to take vengeance on the museum, though he was removed before he caused any damage.

    After initially taking the painting down to start reconstruction, the museum said they returned it on the wall to illustrate the damage. Guess compared leaving the marred painting up to the mother of Emmett Till's mother insisting on an open casket funeral after her son was abducted and lynched. The exhibition ended Saturday.

    Heyward's painting highlights one of his signature techniques of portraying Black people, specifically his family members, with green skin. In his artist statement, the Brooklyn-born Heyward describes the techniques as linking skin tone to the cinematic process of green screening, where green backgrounds are used to project computer-generated new realities. "This provides an alternative entry into the conversation of existing while Black in America," he said in the statement.

    HMAAC vowed to continue displaying works by Black artists despite the vandalism.

    "Our immediate priority is supporting the artist and ensuring the proper restoration of the work,'" said CEO Davinia Reed in a statement. "At the same time, we remain committed to presenting exhibitions that encourage learning, reflection, and dialogue. Acts intended to intimidate, censor, or damage cultural expression will not deter us from our mission."


    Clarence Heyward painting with damage at HMAAC

    Photo courtesy of HMAAC

    Clarence Heyward's Man in the Garden was intentionally damaged

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