Last month the San Francisco Museum of Modern Art (SFMOMA) and the Museum of the African Diaspora (MoAD) announced that Cornelia Stokes will serve as the inaugural Associate Curator of African Diaspora Art. The job will see him work “at both institutions to develop new scholarship on contemporary art from outside Africa, and to support more exhibitions and public programs, as well as SFMOMA’s mission to diversify its collection.” It’s a major work that promises to delve into some of the pressing questions facing the art world at a time when galleries and museums are trying to find new ways to connect with audiences. We caught up with Stokes to hear about his new position and its responsibilities.
Congratulations on the new position! It is very unique. How did you find yourself in this job? How did it start for you?
I initially got the role in 2023 and was instantly attracted to the purpose and collaborative spirit of the position. As I began to understand more about the role, it was the idea of being the connective tissue and building blocks that could support the long-term thinking of care, scholarship and community engagement in both institutions that drew me.
He is positioned as a bridge between these two different institutions. I know you’re still early in your career, but can you talk a little bit about their individual strengths, and how you envision their long-term collaboration?
MoAD has the ability to be more responsive to its plans. They have no end and are not afraid to predict life experience and cultural specificity. SFMOMA offers the scale, resources and global visibility of a major modern and contemporary museum, as well as a deep commitment to collection design. My thinking about collaboration is less about consolidating ownership and more about sharing influence, knowledge and resources without making a difference.
You come to this work from Emblazon Arts LLC. What kind of work did you do there? What lessons did you learn there to prepare for this position?
Emblazon Arts is an independent conservation and cultural practice that I founded to support artists and institutions working within and outside of traditional frameworks. With Emblazon, I curated exhibitions, developed community programs, advised on collections and archive projects and helped build a sustainable artist infrastructure—often with limited resources but a broad vision. That job taught me how to be firm and responsive at the same time. To be flexible and fluid.
She has previously worked, too, as a research assistant for the lovely artist Amy Sherald. What did that position entail? What was it like working for him?
Working as Amy Sherald’s research assistant was indescribable and indescribable. Amy is a force who approaches her work with extraordinary discipline and care. Being a part of that process taught me how deep research, empathy and patience can be channeled into strong works of art. For me, it reaffirmed the importance of protecting the time and vision of artists—something I carry with me in childcare.
Part of this work includes working with SFMOMA to help diversify its collection. What are some of the challenges of that work, historically and now?
Splitting a cluster isn’t just about adding functions; it requires a rethinking of the frameworks of value, identity and art historical issues. I haven’t encountered any challenges, but I think that, as a new curator at a new institution, the challenge will always come into the conversation that is already going on.
This position has a term of three years. How will you know you have done your work at the end of that time? What personal measurements will you have met?
I’ll know I’ve done my job if the collaboration between SFMOMA and MoAD provides a framework for someone else to continue to evolve beyond my tenure. That might look like meaningful collaborative exhibitions, published scholarship and public programs that reflect the breadth of the African Diaspora without downplaying its complexity. On a personal level, success means supporting artists and colleagues in thoughtful, ethical and productive ways. If I can look back and see that the work expanded opportunities—for institutions, artists, and audiences—I will feel that the role did what it was intended to do.
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