In Discussion with Martina Morale

Courtesy of Martina Morale and the International African American Museum

Martina Morale is a public historian and museum professional with a Bachelor of Arts degree in History from Benedict College, a Master’s in Liberal Arts with a concentration in History from the University of St. Thomas, and a certificate in Public History and another in Museum Studies from the University of West Georgia.

Before working in museums, Martina worked in technology and higher education. An expert in African American History and the Broader African American experience, Martina serves as the Director of Curatorial and Special Exhibitions at the International African American Museum.

I had the pleasure and honor of asking Martina about what made her want to be a curator, whether she thinks curators have an ethical and/or social responsibility, what she thinks is the importance of having such a renowned African American Museum, along with how does the museum plan to use through the curation of exhibitions to bring more awareness of African American artists' contributions to society in general, to the community of Charleston, and the whole state of South Carolina?  and so much more.

UZOMAH: What does the museum plan to use through the curation of exhibitions to raise awareness of African American artists' contributions to society in general, the community of Charleston, and the whole state of South Carolina?

MARTINA: We are a history museum that offers space for multiple art forms in conversation with our historically driven narrative. Forwarding and disrupting that narrative with contemporary and literary arts allows the opportunity to engage with artists internationally, nationally, regionally, and locally.

U: What made you want to be a curator?

M: I have always been passionate about history. After completing a BA in history and a master’s in liberal arts with a concentration in history, I taught history and humanities at the university level for a few years. After watching a documentary on the making of a historically based and very successful television series, I decided to research public history as a profession. I went back to school and completed a certificate in public history and a certificate in museum studies.

U: Can you name your favorite aspect of being a curator?

M: I enjoy making the connections and creating context for our visitors to explore stories using images, text, and material culture. I really enjoy object research and suggesting acquisitions and donations. I was able to play a major role in building the museum permanent collection from the very beginning.

U: When writing the text for an exhibition, how do you determine how much is too little and how much is excessive when it comes to information in the exhibition space?

M: Science and data drive the standards around exhibition text length. Depending on the type of medium, text length can vary. A primary exhibition panel, for example, will have more words and context than a label for a historical object and much more text than a label for a contemporary art piece.

U: How would you encourage a young African American who wants to pursue curating in a field that appears limited to them?

M: I am always thankful for the other opportunities I took advantage of because those experiences provided me with a very solid base for the work I do now. Do not turn down opportunities when they present themselves and do not be afraid to take a risk. I did an internship in integrated pest management at a Cane River Creole plantation in Louisiana in the heat of the summer. The knowledge still comes in handy in my current role at IAAM.

U: How do you find new artists and new ideas as a curator to explore the rich history of African Americans in the United States and the world? 

M: I am always reading and learning, and as I engage with visitors and other people in my life, ideas come.

U: Can you explain how you work with the artists in selecting images for each exhibit, or does the artist have free reign?

M: Our work with artists and other creators to build our exhibitions program is very collaborative. That collaboration is essential to our work as an institution and in the museum world in general.

U: Do you think curators have an ethical and/or social responsibility? If so, what is yours, and how do you plan to execute it during your time as a curator?

M: Truth-telling is important to me both personally and professionally. Telling the unvarnished truth while balancing the trauma and joy of these stories is an important part of our work. 

U: Can you expand on the importance of having such renowned African American artists such as Ming Smith’s exhibition at the museum?

M: Ming Smith’s work, the images she captures, tells an American story and serves as a passionate record of the cultural movements she witnessed and participated in. Artists like Ming Smith and many others are both witnesses and participants in our history, visually voicing our stories.

U: What exhibition reminds you of why you accepted the position at the museum in the first place?

M: Our Transatlantic Experience, which greets our guests in the lobby, is an 8-minute visual and audio experience that really grounds the space and is a great introduction to the exhibitions. When I stand in the lobby and take in that moment, I am reminded of why I chose this work.

For more information about Martina’s work as a curator and the International African American Museum's current and future exhibitions, please visit the site here.