The Black Emergency Cultural Coalition (BECC) was founded by a group of artists as an art strike to protest New York museums for their exclusion of black artists and curators in major art exhibitions. For many years, the BECC and its members directed and sponsored counter-exhibitions, arts education programs, and artists-led demonstrations, including the Harlem on My Mind protest.
The Black Emergency Cultural Coalition (BECC) was founded in January 1969 by a group of Black artists-activists to protest questionable practices at The Met and the Whitney Museum.
Benny Andrews and others organized the BECC to protest the Metropolitan Museum of ArtâÂÂs documentary exhibition, âÂÂHarlem on My Mind: Cultural Capital of Black America, 1900âÂÂ68,â that did not include one painting or sculpture by a Harlem-based artist. Romare Bearden, Jacob Lawrence, and Faith Ringgold were all living in Harlem at the time of The Met exhibit, and works by Bearden and Lawrence were already included in The Met's permanent collection.
The BECC argued that by not including the work of a Harlem artist in a show about Harlem, a community with historical significance to Black artists, the Met was passing judgement on the quality and relevance of Black artists.
In addition, the Whitney Museum mounted âÂÂThe 1930âÂÂs: Painting and Sculpture in Americaâ exhibition in 1968, and did not include any black artists in the show.
In response to the Whitney's omission of Black artists, the Studio Museum in Harlem and the BECC presented âÂÂInvisible Americans: Black Artists of the âÂÂ30s, which included Romare Bearden and Jacob Lawrence who, ironically, were exhibited at the Whitney in the 1930s. The BECC used as their protest slogan the phrase, âÂÂIgnored in the âÂÂ30s, ignored in the âÂÂ60s.âÂÂ
The BECC protests and demonstrations led to discussions between the Whitney and BECC about future museum shows. The BECC believed that the âÂÂContemporary Black Artists in Americaâ exhibit planned for the Whitney in 1970, would be an opportunity for the Whitney to hire black curators. The Whitney did not agree; Robert âÂÂMacâ Doty, a white curator who had organized three previous Whitney shows of black artists, was selected to direct the âÂÂContemporary Black Artists in Americaâ show. To show solidarity with the BECC, 15 Black artists withdrew from the Whitney's âÂÂContemporary Black Artists in Americaâ show.
Two outcomes from the BECC-Whitney protests were: 1. the Whitney purchased additional works by Black artists for its permanent collection; and 2. the Whitney agreed to host âÂÂat least five one-man shows for black artists in the small gallery off the WhitneyâÂÂs lobby.â Between 1969 and 1975, the Whitney hosted one-person shows for Melvin Edwards, Richard Hunt (1969), Alvin Loving (1969), Betye Saar, Alma Thomas (1972), and others in the ground-floor gallery, albeit away from the main gallery spaces on the museum's upper floors.
As a counter-exhibition, the BECC presented âÂÂRebuttal to the Whitney Museum Exhibition: Black Artists in Rebuttal,â at the black-owned Acts of Art Gallery, located at 15 Charles Street in Greenwich Village. The Acts of Art Gallery was founded by artists Nigel Jackson and Patricia Gray to present the work of Black artists in a neighborhood âÂÂoutside of the ghetto areas.â "Rebuttal" featured the work of 47 black artists who opposed the âÂÂContemporary Black Artists in Americaâ exhibit.
In 1971, the BECC created a Prison Arts Program in response to the Attica Prison riot in New York. The following year, the BECC, in collaboration with Artists and Writers Protest Against the War in Vietnam, published the, âÂÂAttica Book,â that included black-and-white reproductions of works by forty-eight artists, including Benny Andrews, Faith Ringgold, Irving Petlin, Jacob Lawrence, Jack Sonenberg, Mary Frank, Melvin Edwards, and Vivian Browne. Eventually, the prison arts program would expand to twenty states, and the BECC would sponsor similar programs in juvenile detention centers and mental health facilities throughout the United States.
The BECC sponsored several other arts education programs, including the Artisan Alliance (Green Haven Correctional Facility: Stormville, NY) and Sinbad School of Art (Brooklyn, NY).
In 1972, the BECC was incorporated as a non-profit organization. The directors and artists worked on a volunteer basis, and the organization received funding from public and private sources.
The BECC continued to advocate for the inclusion of Black artists and the hiring of Black professionals in curatorial and decision-making roles within New York museums and art galleries into the mid-1970s.
In 1980, the BECC, in partnership with the PPS-Galerie and S. Fischer Verlag, sponsored the 1980 âÂÂXangoâ exhibit at the Countee Cullen Branch Library in Harlem.
In 1982, the BECC ceased operations.
BECC membership ranged from a dozen of artists to 150 members. The following is a partial membership list.