Kimberly Camp

Last updated
Kimberly Camp
Born (1956-09-11) September 11, 1956 (age 68)
Camden, New Jersey, U.S.
Education BA, University of Pittsburgh, 1978
MS in Arts Administration, Drexel University, 1986
Known forPainting, dollmaking, museum administration
Occupation(s)Artist and museum leader
TitlePresident of Galerie Marie (2013–present);
Council on the Arts (1986–1989)
Website www.kimberlycamp.com
www.galeriemarie.net

Kimberly Camp (September 11, 1956) is an artist and museum leader known for her one-of-a kind dolls and paintings, and leading influential museums and museum projects.

Contents

She was the founding director of the Smithsonian Institution Experimental Gallery (1989–1993), president and CEO of the Charles H. Wright Museum of African American History (1994–1998) in Detroit, president and CEO of the Barnes Foundation (1998–2005) in Merion, Pennsylvania, and director of the Hanford Reach Interpretive Center, a project of the Richland Public Facilities District.

Her paintings and dolls have been featured in more than 100 exhibitions in the United States and internationally. Her dual career as an artist and museum leader administrator has earned her acclaim in both fields. [1]

Biography

Early life and education

Kimberly Camp was born on September 11, 1956, in Camden, New Jersey, the only child of Dr. Hubert Camp, an oral surgeon and jazz trumpeter, and Marie Dimery Camp. Su.rrounded with the arts during her childhood, her exposure to the arts was augmented by the world class museums in Philadelphia, Pennsylvania. Camp was enrolled in private painting lessons and participated in her first exhibition at the age of 12. [2] She later studied painting with Austrian painter Alexandria Laimer and Friends School Mullica Hill as part of the school's first graduating class. [3] [4] Camp attended American University from 1973 to 1974, then transferred to University of Pittsburgh, where she earned her bachelor's degree in studio arts and art history. [5] [6]

Camp earned a Master of Science degree in arts administration from Drexel University in Philadelphia in 1986. [7] [8]

Early arts administration career

In 1983, Camp created a mural program called the Artistic Design Project, a first for the City of Camden. Camp participated in the creation of the Camden Annual Art Exhibition, at Rutgers University Camden Center for the Arts Stedman Gallery. [9] [3] [4] She served on the board of the Walt Whitman Arts Center, and was an editor for the Philadelphia Chapter, National Conference of Artists, the oldest Black art organization in the United States. While attending Drexel University, Camp received a National Endowment Fellowship in Arts Management, in the Expansion Arts Program. From 1986 to 1989, she served as program director for arts education and minority arts services at the Pennsylvania Council for the Arts. Camp joined the Association of American Cultures (TAAC), the first national multicultural art organization in the US and served as vice chair of the board of directors. [7] [8]

In May 1989, Camp joined the Smithsonian Institution as director of the Experimental Gallery. The gallery presented eighteen exhibitions in the Arts and Industries Building from its opening in 1991 until 1995. [7] [8]

The Smithsonian Institution Experimental Gallery was an initiative of the Office of the Assistant Secretary for Museums. Conceived of by Elaine Heumann Gurian, the gallery served as a dynamic space for experimentation and innovation in exhibition design and presentation, context, interpretive strategies, physical and psychological access in the arts, humanities and sciences. [10] Camp completed the vision of the gallery to have each exhibition signed by its creators, and used post-it notes to gather public comments within the gallery. Camp created the administrative framework for the gallery, which hosted the National Air and Space Museum's Principles of Flight exhibition, Finding Ones Way by the Exploratorium, "Etiquette of the Underclass" by Antenna Theater, and other exhibitions. The gallery also served as a model for diversifying Smithsonian museum attendance. The gallery closed in 1995. [11] [12]

Charles H. Wright Museum of African American History

In 1994, Camp became executive director then president and CEO of the Museum of African American History in Detroit, Michigan. Camp oversaw the expansion of the museum and construction of the new 125,000 square foot facility which opened to the public in 1997 as the largest Black museum in the world. [9] She was instrumental in the design and planning for its inaugural exhibition "Of the People," which at the time was the largest exhibition ever mounted to tell the African-American story. [13] Weeks before its opening, the museum's name changed to the Charles Wright Museum of African American History and Culture in recognition of its founder, Dr. Charles Wright. [7]

Barnes Foundation

In 1998, Camp became the first museum professional to serve as president and CEO of the Barnes Foundation in Merion, Pennsylvania. [14] [15] The Barnes Foundation was created as a school in 1925 by Dr. Albert C. Barnes. [16] It has the largest collections in the world of works by Renoir and Cézanne, and more Renoir, Cézanne and Matisse paintings and drawings than all the museums in Paris combined. [17] With approximately 9000 works of art, the Barnes is the first purposefully multicultural collection of decorative, folk and fine art in the United States, including international artists Claude Monet, Tintoretto, Giorgione, Pablo Picasso, Vincent van Gogh, and American painters William Glackens, Horace Pippin, Charles and Maurice Prendergast. [18] [19] [20]

Camps research into the Foundation's history was critical in winning court approval to relocate the foundation to Philadelphia Pennsylvania. [21] Under her leadership, the Foundation's operations were professionalized to include conservation and a full inventory of the collections, cataloguing of the Foundation's archives, restoration of Kerfeal and the Merion arboretum, and restoration of the education programs. [22] Camp lectures at colleges, universities and museums based on her research, to dispel entrenched beliefs and mythologies about the Foundation and its founder Barnes, a chemist and philanthropist who remained a staunch advocate for ending racial discrimination and social justice. Camp's manuscript titled Defending the Dead, includes a detailed account of the professionalization of the Foundation and its legal challenges during her tenure. [23] [24]

The Foundation was moved to Philadelphia's Benjamin Franklin Parkway in 2012. [19] Controversy over the move began years before because of challenges from Lower Merion Township's zoning laws that restricted visitation. Camp's research became the basis for the legal petitions to relocate the Foundation to the Parkway, dispelling the widely held misinformation that Dr. Barnes' last will and testament was altered and that the Foundation's move was due to impending bankruptcy. [18] [3] [25]

The Hanford Reach Interpretive Center

Camp moved to eastern Washington in 2007 to become the first executive director of the Hanford Reach Interpretive Center, a project of the Richland Public Facilities District. The center was created to tell the story of the Manhattan Project's Hanford nuclear site where the world's first atomic bomb was created and the story of the Hanford Reach National Monument. When the initial site was rejected by indigenous communities, Camp led the effort to construct the center on the banks of the Columbia River with their approval along with the US Army Corps of engineers, the US Federal Highways Administration, US Fish and Wildlife, state, and local agencies. After groundbreaking for the new facility in 2011, Camp announced her retirement. [26] [27]

Galerie Marie

Camp founded Galerie Marie in 2013, named for her late mother Marie Dimery Camp, in Collingswood, New Jersey. The gallery features Camp's paintings and dolls and the work of over 200 national and international artists and craftsmen. Camp's studios are also located on the property. [5] [28] [29] Camp's papers, a collection of biographical material, writing, art, sketchbooks and recordings are being accessioned by the Smithsonian Institution Archives of American Art. [30]

Teaching and consulting

From 2019 to 2021, Camp served as a co-curator for A New View Camden public art project of the City of Camden with support from Bloomberg Philanthropies. Camp teaches art history, art administration and museum leadership at several regional colleges and universities including Rutgers Camden and Drexel University. From 2015 to 2016, she served as senior lecturer at Lincoln University where she created its first undergraduate museum major program. Camp is a regular consultant for non-profit organizations on strategic planning, leadership transition and best practices in governance.

Camp was part time lecturer at Rutgers University Camden Campus from 2020 until 2022. Previously, Camp taught at Lincoln University, Camden County College and Drexel University. [31] [26] Camp consults for non-profit organizations on strategic planning, leadership transition and best practices in governance. She has consulted the Barnes Foundation as Senior Advisor to the Board of Trustees, and was consultant to the Andrew Mellon Collection Assessment, the Pennsylvania Council on the Arts Strategies for Success program, the Freelon Group/ Wachovia Bank for the Harvey Gannt Center, Friends School Mullica Hill, Aljira: A Center for Contemporary Art, Vines Architecture for the North Carolina Civil War History Center, and Cooper's Ferry Partnership/Rutgers Camden Center for the Arts: A New View.

Style and works

Thematic and artistic development

Camp's paintings and dolls reflect her life experiences, family stories, mythologies, and fantasy. [32] She began as an oil painter, then began working almost exclusively in acrylic paint. [33] Camp's dolls extend beyond the African-American experience to include a wide range of interests, cultural knowledge and travel. [34] [35]

Dolls

Camp has described her dollmaking process as intuitive, and "[growing] off her work table." [32] She was inspired to begin creating dolls to allow African Americans, particularly children, to engage with their history and culture through play. [36]

Camp draws on her own spirituality, with imagery from mysticism and the occult, and world religions. Curator Philip Collins described her dolls as being "possessed with a visual excitement that expresses an aura of mystery and rare beauty." [27]

In 1982, Camp began making Brown Babies using hand-dyed cotton and African textiles, to represent western, central and eastern African ethnic groups. [2] Painter Faith Ringgold saw Camp's dolls in an exhibition for the Women's Caucus for the Arts of the College Art Association. Ringgold purchased five dolls and later connected Camp with an editor at Essence magazine who picked up the story. [37] After being featured in Essence, Camp began selling the dolls internationally. [37] [38] She later changed the name to Kimkins, [4] which have been published in local print and broadcast media, National Geographic World , Essence and Ebony magazines. [36] [38]

One-of-a-kind dolls

In 1989, Camp began making one-of-a-kind dolls. Camp uses materials from world cultures to craft dolls with layered significance. Her materials include raffia, animal teeth and antler, textiles, beads and cowrie shells. [32] Her dolls have appeared in The New York Times , FiberArts, The Village Voice and Smithsonian. [32]

Camp's "Twilight" doll garnered artistic and critical attention when it was the centerpiece and catalogue cover illustration for the 1995 traveling exhibition "Uncommon Beauty and Common Objects," organized by the National Afro-American Museum and Cultural Center in Wilberforce, Ohio. [32]

Paintings

Camp's early works were primarily animal portraits. Her colorful realistic paintings have been shown in over 100 exhibitions in the United States and abroad. Subjects include family members, and images created to reflect Camp's deep spiritual experiences. [33] She was featured in a one-person exhibition at the Prizm Art Fair by Filo Sofi Arts, during 2022 Art Basel Miami. [1]

Awards and fellowships

Camp has received numerous awards and fellowships over the course of her career. She received the Kellogg National Leadership Program Fellowship two National Endowment for the Arts fellowships, and a Smithsonian International Travel fellowship as Visiting Scholar for Tokyo Gedia University. She was also named one of the Outstanding Young Women of America. [27] [39] [40]

YearAwardAssociation
2021Gold Award Best of Show Peters Valley School of Craft
2020Award of Excellence American Craft Council
Lillian Levy Standing Ovation AwardSouth Jersey Cultural Alliance
1999Roger L. Stevens Award for Contributions to the Arts and Culture Carnegie Mellon University
1994Award of DistinctionKentucky Art and Craft Foundation
Spirit of Detroit Detroit City Council
1988Purchase Award J. B. Speed Art Museum
1986New Jersey State Senate Citation New Jersey State Senate
Builders of the Community AwardCamden County Cultural and Heritage Commission
Achievement in Painting Chicago Museum of Science and Industry
1985
Community Service AwardAssociation of Negro Business and Professional Women
1984Arts Achievement AwardCity of Camden
National Service AwardNational Conference of Artists

Exhibitions

Her paintings and dolls have appeared in over a hundred solo and group exhibitions. [35]

Selected exhibitions

Solo exhibitions

Group exhibitions

Public collections

Private collections

Workshops and residencies

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References

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  2. 1 2 "The Fluid Artistic Dynamics of Kimberly Camp". BLACK ART IN AMERICA™. 2021-12-18. Retrieved 2022-04-23.
  3. 1 2 3 Armstrong, Jenice (15 July 2013). "Celebrating Success: A gallery of her own". www.inquirer.com. Retrieved 2022-04-23.
  4. 1 2 3 Nicole, Terina (2017-02-28). "Makers Series: Interview with Professor/Multi-Media Artist/Gallery Owner Kimberly Camp". terinanicoledesign. Retrieved 2022-04-23.
  5. 1 2 "For Lifelong Artist Kimberly Camp, Art is Life". The Craftsmanship Initiative. Retrieved 2022-04-23.
  6. ↑ Arts, National Endowment for the (1994). Annual Report. Division of Publications, National Endowment for the Arts. p. 35.
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  9. 1 2 Graves, Earl G. (1998). "Professional Spotlight: The Journey of an Artist". Black Enterprise. Earl G. Graves, Ltd. p. 58.
  10. ↑ Niekrasz, Emily (2019-08-21). "Wonderful Women Wednesday: Kimberly Camp". Smithsonian Institution Archives. Retrieved 2022-04-23.
  11. ↑ Walker-Kuhne, Donna (2005-09-06). Invitation to the Party: Building Bridges to the Arts, Culture and Community. Theatre Communications Group. p. 139. ISBN   978-1-55936-636-6.
  12. ↑ Lawson, Carol (1992-10-22). "Exhibition for Children About Racism". The New York Times. ISSN   0362-4331 . Retrieved 2022-04-23.
  13. ↑ "Black Culture Surveyed In Detroit Museum". The New York Times. 1997-04-20. ISSN   0362-4331 . Retrieved 2023-04-05.
  14. ↑ Salisbury, Stephan. "Kimberly Camp faced hostile neighbors, budget deficit in running Barne". www.inquirer.com. Retrieved 2022-04-23.
  15. ↑ deco, ART | library (2017-12-12). "ArtProfession: Black Art in America Talks with Kimberly Camp about Mentorship and Pursuing a Career in Arts Administration". ART | library deco. Retrieved 2022-04-23.
  16. ↑ "Barnes Foundation".
  17. ↑ McCalla, John (April 26, 1999). "Canvassing for dollars". www.bizjournals.com. Retrieved 2022-04-23.
  18. 1 2 "Battle for the Barnes". The New Yorker. 2002-01-14. Retrieved 2022-04-23.
  19. 1 2 "The Barnes move 5 years later: (essentially, 'we were right')". PhillyVoice. 2017-10-07. Retrieved 2022-04-23.
  20. ↑ Perl, Jed (2012-08-24). "The Barnes Foundation's Disastrous New Home". The New Republic. ISSN   0028-6583 . Retrieved 2022-04-23.
  21. ↑ "Kimberly Camp on mentorship and pursuing a career in arts administration". BLACK ART IN AMERICA™. 2017-11-20. Retrieved 2022-04-23.
  22. ↑ "The Fluid Artistic Dynamics of Kimberly Camp". BLACK ART IN AMERICA™. 2021-12-18. Retrieved 2023-04-05.
  23. ↑ Riordan, Kevin (17 February 2017). "Getting to know a kinder, gentler Albert C. Barnes". Philly Inquirer. Retrieved 2022-04-23.
  24. ↑ Boatman, Gail T. "Ex-Barnes president returns to roots". Bucks County Courier Times. Retrieved 2022-04-23.
  25. ↑ "'Art Of The Steal': Actual Heist Or Conspiracy Theory?". NPR.org. Retrieved 2022-04-23.
  26. 1 2 Staff, the Hour (2016-04-22). "20/20 Hindsight". Hour Detroit Magazine. Retrieved 2022-04-23.
  27. 1 2 3 "Kimberly Camp | InLiquid" . Retrieved 2022-04-23.
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  29. ↑ Boatman, Gail T. "The art of the comeback". Burlington County Times. Retrieved 2022-04-23.
  30. ↑ "Record Kimberly Camp papers, 1970-2015 | Collections Search Center, Smithsonian Institution". collections.si.edu. Retrieved 2022-04-23.
  31. ↑ "Bloomberg Grant to Transform Camden Lots to Public Art Space | WNYC | New York Public Radio, Podcasts, Live Streaming Radio, News". WNYC. Retrieved 2023-04-05.
  32. 1 2 3 4 5 Nzegwu, Nkiru (1993). Uncommon Beauty in Common Objects: The Legacy of African American Craft Art. National Afro-American Museum and Cultural Center. pp. 36–37. ISBN   978-1-880179-03-1.
  33. 1 2 "Filo Sofi Arts — Exhibition: Spirit Guides". Filo Sofi Arts. Retrieved 2022-04-23.
  34. ↑ Letters, Black Academy of Arts and (January 2006). "[Flyer: African American Dolls: The Work of Kimberly Camp]". The Portal to Texas History. Retrieved 2022-04-23.
  35. 1 2 "Kimberly Camp". Museum of Craft Design.
  36. 1 2 Ebony. Johnson Publishing Company. December 2007. p. 182.
  37. 1 2 "Disclosures: Kimberly Camp, or Life Between the Parallels". Whitehot Magazine of Contemporary Art. Retrieved 2022-04-23.
  38. 1 2 "Kimberly Camp". National Geographic World . December 1986. p. 22.
  39. ↑ "2020 Encore Awards". South Jersey Cultural Alliance. Archived from the original on 2021-08-04. Retrieved 2022-04-23.
  40. ↑ "Kimberly Camp – Visual, Media, and Performing Arts". vmpa.camden.rutgers.edu. Retrieved 2022-04-23.

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