The Detroit Institute of Arts: A Transformative Cultural Journey

“We have not yet begun to utilize the museum as an instrument of cultural education.” This assertion from Alain Locke’s 1925 essay “The Legacy of the Ancestral Arts” resonates deeply today as visitors navigate the newly reinstalled permanent galleries at the Detroit Institute of Arts (DIA). Locke, a key philosopher of the Harlem Renaissance, criticized the distortion of the “African spirit” in American culture, arguing that true African American artistic expression was often overlooked. His words serve as a guiding light for the DIA as it seeks to redefine the narratives that its collections convey.

A Museum’s Role in Repair

Locke envisioned a museum that would not merely display art but act as a vehicle for cultural repair—correcting misconceptions and ensuring that marginalized voices were represented. His critiques of the Jim Crow era—a time when racial segregation permeated every layer of American life—highlighted the urgent need for museums to evolve beyond exclusionary practices. In the spirit of Locke’s vision, the DIA’s reinstalled African American galleries now occupy a prominent space adjacent to Diego Rivera’s celebrated Detroit Industry Murals (1932–33), signaling a new phase in the narrative of American art.

Bridging the Past and Present

Under the direction of Salvador Salort-Pons, the DIA strives to reflect the diverse histories and identities that shape the local community. Since 2015, Salort-Pons has emphasized inclusivity, bringing forth exhibitions like The Art of Dining, which spotlighted the cultural significance of food in the Islamic world, particularly in a city like Dearborn, known for its vibrant Arab American population.

The museum’s efforts coincide with Detroit’s ongoing revitalization, which has seen a shift in demographics and economic conditions since the city’s bankruptcy in 2013. This change also implicates a reckoning with the structural inequalities that have historically marginalized Black artists and Indigenous communities in the region.

Transformative African American Art Galleries

The DIA first recognized the significance of African American art by establishing a dedicated collection in 1943, making it one of the first museums to do so. In 2001, Valerie J. Mercer became the first curator for African American art in a U.S. museum, laying the groundwork for what would grow into a remarkable collection of about 700 works. Mercer’s vision is clear: to create a space that feels welcoming and inclusive for African Americans, ensuring they see themselves represented in the museum.

The reinstalled galleries, titled Reimagine African American Art, curates a rich history spanning two centuries. The exhibitions cover various themes, including the Great Migration, the Harlem Renaissance, and the Civil Rights Movement, all the while emphasizing that Black artistic expression is an integral part of the broader American narrative.

Artistic Narratives of Migration and Resilience

As visitors move through the galleries, they encounter stories of resilience illustrated in art. The work of Charles McGee, a prominent Detroit artist, stands as a testament to the struggle and triumph of African Americans who migrated from the South. McGee’s vibrant Spectral Rhythms portrays a metaphysical celebration of culture and spirit, reflecting both personal and collective histories.

Additionally, the gallery features Hughie Lee-Smith’s The Piper, presenting a child with a recorder, set against a crumbling urban backdrop. Mercer contextualizes this piece as a powerful symbol of the alienation faced by African Americans post-migration, a duality of hope and despair.

Connecting Heritage with Contemporary Art

The DIA also embraces connections between historical and contemporary crafts through exhibitions like Contemporary Anishinaabe Art: A Continuum, which breaks the stereotype of Native art by showcasing the diverse practices of Indigenous artists from the Great Lakes region. Curator Denene De Quintal emphasizes the need for a nuanced understanding of Native experiences, working closely with Anishinaabe communities to ensure authentic representation.

In this exhibition, a breathtaking array of art—ranging from photography to beaded textiles—further enriches the narrative surrounding Native American artistry. Notable works include Jonathon Thunder’s Basil’s Dream, which spotlights the complexities of Native identity while interweaving elements of pop culture.

Engaging Community and Culture

The DIA’s ambition to remain at the crossroads of contemporary culture and historical richness is evident. It aims to bring in diverse audiences by showcasing works that are both refreshing and relevant. Artists like Kelly Church and Ronald J. Paquin present traditional crafts, such as beautifully constructed canoes, in settings that emphasize their contemporary significance.

Moreover, the introduction of contemporary voices in Native American and African American art is not merely a curatorial choice; it reflects a broader commitment to social justice and the reclamation of narratives that have too often remained untold.

The Vision for the Future

The museum community is currently advocating for a union that prioritizes “community, creativity, and dignity,” striving to ensure that these values are evident not only in the artworks on display but also in the workplace environment.

As the DIA continues to navigate its mission of inclusivity and representation, it embodies Locke’s vision of a museum as an evolving narrative space—one that champions cultural education and celebrates the diverse stories that enrich the human experience. Each visit unveils a tapestry of histories woven with resilience, joy, and authentic representation.