The Fluid Artistic Dynamics of Kimberly Camp
By D. Amari Jackson
“I will never forget the first time I met Romare Bearden. I didn’t expect to meet him, I didn’t expect to have that opportunity, but I went to an opening, and he was just sitting on the bench by himself. I went and sat next to him and said, ‘What do I need to know, if there was just one pearl you could pull out of the air?’
He said, ‘Always live near running water because the body is majority water, and it’ll help you tap into your creativity. Artists who don’t live near water, their work is angular and grid-like. But artists that live near running water, their creativity is fluid.’
I never forgot that.” Kimberly Camp, BAIA Talks, 11/20/2017
For Kimberly Camp, the ability to flow, to adapt—or like iconic martial artist, Bruce Lee, once famously quipped, to “be like water”—has been a lifelong endeavor. An artist for five decades, the Camden, New Jersey-born prodigy has forged a fluid and unprecedented dual career in art and art administration. Holding her first exhibition at age 12 in Woodbury, New Jersey, Camp has continued to successfully make art while becoming one of the most powerful art administrators in the nation.
In 1989, not long after receiving her master’s degree in Arts Administration from Drexel University, Camp was appointed founding director of the Smithsonian Institution Experimental Gallery, a newly-established unit of the Smithsonian. In 1994, she became president and CEO of what would become the Charles H. Wright Museum of African American History in Detroit. There, she traveled the world to procure art for its nascent collection while managing the $65 million construction and opening of what was, at the time, the world’s largest museum devoted to African-American culture. In 1998, Camp became the only African American in the country to head a major collection upon taking control of the world-renowned Barnes Foundation, a multibillion-dollar art collection and educational institution now located in Philadelphia. Upon leaving Barnes, Camp spent six years creating a science, technology, and natural history project for the Hanford Reach Interpretive Center in Washington state before opening Galerie Marie in Collingswood, NJ, named for her late mother, where she features her own popular paintings and dolls alongside works by artists from around the world.
“Back Yard Barbershop,” by Kimberly Camp. Image courtesy of artist and Filo Sofi Arts gallery
“Kimberly is someone who is able to pursue, with excellence, two different paths in life, the museum administration and the art making,” acknowledges Gabrielle Aruta, fine art professional and owner of Filo Sofi Arts, a contemporary gallery and education organization with locations in New York and New Jersey. Currently, Filo Sofi Arts is featuring Kimberly Camp: Spirit Guides, which runs through February 13, 2022. “It’s exciting to be around someone like that because we all have different aspects of our personality, and I think everybody feels like they have to compromise something,” offers Aruta, who considers Camp both “a mentor and a heroine” given the latter’s trailblazing career. “But Kimberly has beautifully pursued both these paths.” The art dealer further promotes how Camp, despite becoming a top art administrator, has “never given up on her dream and her purpose as an artist who tells incredible stories through doll making and painting.”
Consistently, such fluidity has facilitated Camp’s unique approach to art, one as varied as her stellar administrative career. She is the creator of “Kimkins,” a line of dolls with hand-painted faces, composed of suede cloth and dressed in traditional African fabrics. In the mid-1980s—a few years after a Kwanzaa bazaar where she introduced and sold out 55 hand-dyed dolls clothed in 32 traditional designs from numerous African countries—Camp was producing 2000 Kimkins a year. Today, almost four decades later, Camp’s award-winning paintings and dolls have been exhibited over 100 times throughout the world at such institutions as the Smithsonian, the American Craft Council Show, the International Sculpture Center, the University of Michigan, and the Manchester Craftsman’s Guild. Her art has been featured in numerous collections and traveling exhibitions, and her workshops and residencies include the Baltimore Museum of Art, Virginia Museum of Fine Arts, Longwood Gardens, the Smithsonian, and the African American Museum in Philadelphia.
“I collected textiles, beads, wolf teeth, bison teeth, snake vertebrae, fur, leather—any place I went, whatever they specialized in, I would do some research and figure out where to go,” reveals Camp, a longtime globetrotter. “When I came back from Morocco, I brought camel belly leather. Can’t get that here. When I went to Japan, I brought back silk, beads, and feathers, and when I went to Ghana, I brought back textiles and more beads,” she says, of the “encyclopedic collection of stuff” she employs in her art. “So that’s how I make my dolls.”
“Mami Wata,” by Kimberly Camp. Image courtesy of artist and Filo Sofi Arts gallery
Camp’s childhood was equally remarkable and fluid. Reared in a family of creatives—her father, an artistically-inclined dental surgeon, her mother, a stay-at-home mom who went to business school after teaching her daughter to draw, sew, and paint—Camp showed early promise as both an artist and an intellect. After her mother set up a card table up in the living room with newspaper under it, Camp would sit there after school, drawing, painting, copper etching, and making plastic airplanes, plastic monsters, and race cars. The avid reader also spent countless hours in the library across the street from the local art supply store “picking up subjects that I wanted to know more about and teaching myself about them. At one point, I decided I needed to learn Latin, so I taught myself Latin. And then, I figured I needed to be a philosopher, so I started reading philosophy,” remembers Camp, noting “I read voraciously” and it “just opened up a whole world for me.” The gifted 12-year-old began taking art classes at the Friends School in Mullica Hill, New Jersey and, that same year, sold all her work at her debut exhibition in Woodbury.
A year later, Camp’s art instructor refused to teach her anymore. “She didn’t tell me this until decades later, but she was like, ‘Well, you were already better than me.’”
Not long after, Camp began studying painting and drawing under a graduate of The Academy of Fine Arts Vienna at the latter’s Merchantville, New Jersey residence. Great training, but the house, recalls Camp, had some issues. “We’d go in and sit around her dining room table and she would teach us art. She kept a parakeet in the other room because he was mean, and he would bite people.” That wasn’t all, given her tutor was the widow of an American ship captain. “Her house was literally haunted,” insists Camp. “We could hear people walking around upstairs, and we once asked her, ‘Who is up there?’ She told us the floor was empty, but we didn’t believe her, so she let us go up there,” recounts Camp, stressing there “wasn’t a soul up there… wasn’t a piece of furniture in the room.”
Upon closing in on her graduation from the Friends School at age 15, with college in mind, Camp received advice from the department chair that has stayed with her to this day. “He said, ‘You’re not good enough. Get a husband, have babies, you can play on the weekend. You’ll be fine.” Stunned, Camp later found out this administrator told all the women who graduated from the school the same thing. “I didn’t have a counterbalance of somebody saying, ‘Well, you know, don’t pay attention to him’ or ‘let’s sit down and talk about that,’” she explains, though subsequently being accepted to American University. There was more amazement, says Camp, that “I got into college at age 16, and not as much guidance about what that meant, and what I could do with it. I didn’t have that conversation about, ‘Do you want go to an HBCU? Do you wanna go Ivy League?’ she reflects, pointing out that her dad was the first of his generation to go to college. “I didn’t have that kind of guidance when I was coming up, and it wasn’t my parents’ fault. They didn’t know.”
Realizing American University was not a fit, Camp transferred after her first year to her father’s alma mater and her boyfriend’s school, the University of Pittsburgh. There, under the guidance of a female art professor, she pursued two majors in Studio Arts and Art History with a concentration on the art of Japan and China. “I took just about every class that she taught because she was the only one who was teaching art that was not about dead white men.”
“Naima & Olatunji,” by Kimberly Camp. Image courtesy of artist and Filo Sofi Arts gallery.
Subsequently earning a master’s degree in Arts Administration from Drexel University in 1986, the stage was set for Camp’s dual career as she was already exhibiting art, organizing shows, making her dolls, and running the mural program for the city of Camden. She was soon hired by the Pennsylvania Council on the Arts where she directed arts and education and minority arts services for two and a half years before connecting with someone who would change her life. At the time, Cheryl McClenney-Brooker was the vice president of external affairs for the Philadelphia Museum of Art and had been the “first African-American chair of the National Endowment for the Humanities under the Carter administration,” points out Camp. “I interviewed her when she first came to Philadelphia, and we were all stunned by this beautiful, shorthaired, big-eyed Black woman who was at the art museum. We became friends, and Cheryl was really instrumental in my career.”
It was the late McClenney-Brooker who, in 1989, encouraged and recommended Camp to become the founding director of the Smithsonian Institution Experimental Gallery. Though mildly interested in the position, she was selected from a pool of 67 applicants for the final round of interviews. “I had an NEA fellowship, and I was out in Detroit the night before doing some evaluation work for them, and I wore my hair in like big Senegalese twists,” recalls Camp, of the final interview. “I was skinny then because I had gone on a fast, and I had on this fuchsia blouse and a fuchsia tweed pencil skirt, slit in the back, fuchsia tights, and red suede, three-inch heeled pumps,” she laughs. “And I walked into the castle of the Smithsonian and sat down with this big scarf I’d gotten in Detroit—it was maroon, gold, white, and fuchsia—thrown over my shoulder. I was like, this is gonna be fun ‘cause they are not gonna hire me.”
They did. At the Smithsonian, Camp opened the Experimental Gallery, a facility that museum professionals could use as a trial laboratory to explore exhibition development, context and design, marketing and accessibility strategies. “I had an absolute blast,” touts Camp, noting “we had the first exhibition at the institution that was in bilingual labels. We had the first exhibition at the Smithsonian about AIDS. The Principles of Flight gallery that’s now at the Air and Space Museum was tested in my gallery.”
Still, five years in, amid shifting institutional politics prompted by the rise of the religious right, Camp was looking elsewhere and received a call from a headhunter that ultimately sent her back to Detroit to spearhead the establishment of the Charles H. Wright Museum. As president and CEO, she spent the next five years managing and overseeing the unprecedented yet contentious opening of the historic institution. “I had to stop construction twice because they were not building what they needed to build,” stresses Camp, reporting that the “architect had basically planned it to be a big community center. I said, ‘You can’t do that. This is going to be the largest Black museum in the world, and it has to have museum quality standards so it can take major exhibitions.” Under Camp’s leadership, and despite a hot public debate over the function and reach of the facility, the 125,000 square-foot, state-of-the-art museum opened in April 1997 with over a million-dollar surplus, a 26,000 square-foot main gallery, and “two changing exhibit galleries on top of that. Nothing had ever been created about our history and culture that large.”
“Sentry,” by Kimberly Camp. Image courtesy of artist and Filo Sofi Arts gallery.
Another success for Camp but, once again, it was time to go. “Usually a museum director leaves because you have to put in 120 percent and nobody appreciates it,” she offers, depicting how McClenney-Brooker stepped in again to point her toward another career opportunity with the Barnes Foundation, at the time located in Merion, Pennsylvania. Founded in 1922 by wealthy art collector and racial equity advocate, Dr. Albert C. Barnes, the multibillion-dollar collection and educational institution holds some of the world’s most important impressionist, post-impressionist, and modern paintings, including works by Renoir, Cézanne, Matisse, and Picasso alongside African masks and native American jewelry. “I thought the Barnes would be much calmer and quieter,” admits Camp, the first president and CEO in the foundation’s history. At the time, it was limited to 200 visitors per week and the foundation was closed in July and August. I said, “This is great,” and they were going to increase my salary by 50 percent, “so I can go here and have a calmer life and get out of the controversies of the previous museum.”
New ones awaited. “It was the most dysfunctional organization that you could ever imagine,” laments Camp, stressing “there was no order. None. The grounds looked horrible. There had never been a full inventory of the collection since Barnes had died in 1951. There were students and staff running in and out of just about every door, and it seemed like everybody had keys to everything.” Hands full, Camp dove in to increase support, create a viable infrastructure for the foundation, limit access to the multibillion-dollar collection to key personnel, hire new administrators and staffers, perform a full inventory of the collection and archives, redo the grounds, and restore the educational programming promoted by Barnes.
And then there was The Move, one of the most highly contested relocations in American institutional history (and far too nuanced and extensive to detail here), where Camp was at Ground Zero of a nasty public feud between numerous competing entities who, for a variety of reasons, either rallied against or supported the foundation’s proposed move to its current location in Philadelphia. The battle, which played out both in the courtroom and in the media, would intensify for several years during the first decade of the 21st century, producing numerous court challenges, a mountain of editorials and press, and several popular documentaries. The conflict would take its toll, and Camp announced her resignation in 2005. “I left because I had gone through three full changes of the board,” through “all the gymnastics of a forensic audit,” and through a “10-year accounting from the attorney general of Pennsylvania, which was started when I got there,” reveals Camp, pointing out that “by the time I got there, the foundation had spent over six million in legal fees the previous four years. And I fixed all of it.”
Currently, Camp consults, lectures, and teaches a course on the history of the Barnes Foundation and its founder based on her research of foundation archives, oral histories, and her controversial seven-year tenure. It was during this tenure that Aruta, the Filo Sofi Arts gallery owner, first learned about Camp as a student enrolled in the Barnes’ three-year educational program, one largely devoted to iconic educator John Dewey’s pledge to better race relations in America. “I was a 21-year-old, idealistic young white woman, not having experienced racism on that level, not having lived in a city like Philadelphia before, and there was a lot of turmoil around the Barnes Foundation,” recounts Aruta, offering that it was “deeply fascinating to me, and also startling, to see how the history of systemic racism in Philadelphia was playing out through this institution.” Aruta acknowledges, “It’s not that I got to know Kimberly well when I was 21 and she was on her way out, but I met her a couple times” and recognized her as “an incredibly strong person” with a “larger than life” character that “I deeply admire.” Just seeing “how she was dismissed, I think, as a woman, as a Black woman, as a leader in art administration, that shaped me and shaped my role in what I wanted to do with my life, and how I wanted to be involved in the arts and right the flaws in the museum industry.”
“She broke a glass ceiling in the art administration world,” continues Aruta. “As you get older, it’s harder to find people you admire so much and people you want to emulate, and I just think that she is somebody whose story needs to be told as loudly and as widely as it can.”
Upon leaving Barnes, Camp relocated to Washington state to establish and lead the Hanford Reach Interpretive Center, a science, technology, and natural history project. And though this new museum project was also plagued by dysfunction, it triggered something different in the veteran administrator. “I had decided, given I had worked so hard when I was at the foundation and nobody appreciated it, that I was never doing that again,” says Camp, promoting that “anybody who brings change to an organization can be found with their back full of swords, laying in a pool of their own blood. It doesn’t win you friends.” So “I went to work at ten and I left at five. I didn’t work in the evenings, I didn’t work on the weekends, I didn’t bring any work home, period, end of story,” stresses Camp, reporting how her new approach provided her “a lot of time to paint. I had a wonderful studio over the garage, so I painted, I made dolls, and all that.”
By 2013, Camp had retired from art administration, was back in New Jersey, and wholly focused on art. She opened Galerie Marie in Collingswood with her painting studio upstairs and doll studio downstairs. “I’m a realistic figurative painter,” she clarifies, of her family renderings. “I love color, and to try and illustrate the fact that we really are all the same. I feel like I’m successful if somebody who’s not African American looks at one of my paintings and says, ‘that reminds me of my son and I when we were fishing’ or ‘my mother and her sisters,’ because we all love and laugh the same way.”
“Then there are the ones that I think are just guided by spirit because I’ve always been a student of the metaphysical and the occult, and I do work that reflects that research,” reveals Camp, noting that “a lot of that stuff I tend to not show because it scares people. We, as a people, are doggedly Christian and taught to fear our own spiritual beliefs, and I’ve just never bought into that. So that work, I tend to not show,” she reiterates, but “I wish I could. I would actually love to do an exhibition of just that. It would liberate my soul tremendously.”
“Latest News,” by Kimberly Camp. Image courtesy of Filo Sofi Arts gallery.
Along with her prolific artwork, and consistent with her lifelong artistic fluidity, Camp was recently contracted to write a book about racism and museums for which she is now looking for a publisher after parting with her initial one. “There are people who have decided that telling the truth is bad for them,” she observes, “so I’m trying to find a publisher that’s gonna see the good in telling the truth.” For the project, Camp has interviewed senior level African-American museum professionals “who went into the field the same time I did, which was the last racial reckoning. Rodney King was the atrocity. The pandemic was AIDS. Instead of Mitch McConnell, we had Jesse Helms. Very similar periods,” stresses Camp, noting that museums, in a rush to diversify, were hiring Black people then as well. “I interviewed senior administrators so they could tell stories of what happened to them so, hopefully, we can tell young people what to look for and what to avoid.”
“So it’s the stories, it is the advice to young professionals,” continues Camp, on the value of her current endeavor. “And then it begs the question: Will things change?”
For things to change, Camp would likely agree that people—at least, to a certain extent—have to change as well. And her ultimate take on humans, one forged through a groundbreaking and actively engaged lifetime of art and art administration, is as fluid as her body of work.
“People that have cats know that there’s no such thing as a purebred cat,” points out Camp, clarifying “it doesn’t exist. But they come out looking certain ways, and you can breed to have a black cat and you can say it’s an Abyssinian or whatever, but it’s a black cat, and every black cat looks different than the last one.” She describes how some may “have a white hair that’s in the back,” one white toe, or “a pink patch on their nose. They’re all different, but they’re the same thing, right?”
To drive the point further, Camp offers that “there’s more genetic difference in breeds of dogs than there are in people. Imagine if we were that distinct, if we had spots and stripes and different colored fur, it would be really hard to segregate out people and hate them as a group,” she promotes, noting that “people who love cats, love cats. They might only buy black cats, but they love cats. People who have dogs, love dogs. They might buy only bulldogs, but every bulldog is different.”
“We should take a lesson from that,” concludes Camp. “Because if we don’t heal up from all this hate—and if white people don’t start talking to each other about their own hate—it’s gonna destroy this country.”
“And that’s the bottom line.”
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Amari Jackson is a creator, author, TV/web/film producer, and award-winning journalist. He is author of the 2011 novel, The Savion Sequence; creator/writer/coproducer of the 2012-2014 web series The Book Look; writer/coproducer of the 2016 film Edge of the Pier; and current writer/coproducer of Listen Up! on HBCU GO/Roku TV. He is a former Chief of Staff for a NJ State Senator; a former VP of Communications & Development for the Jamestown Project at Harvard University; and a recipient of several writing fellowships including the George Washington Williams Fellowship from the Independent Press Association. An active ghost writer, song writer, martial artist, and journalist, his writings have appeared in a wide variety of national and regional publications.
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