Black Male: Representations of Masculinity in Contemporary American Art, Rar
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Artikelnummer:285748349109Black Male: Representations of Masculinity in Contemporary American Art, Rar.
Black Male: Representations of Masculinity in Contemporary American Art
Golden, Thelma On December 12, 2014, the Education department presented Looking Back at
Black Male, a public program to mark the twentieth anniversary of the
exhibition Black Male: Representations of Masculinity in Contemporary
American Art, (November 10, 1994-March 5, 1995). Curated by Thelma
Golden, now the Director and Chief Curator at the Studio Museum of
Harlem, Black Male investigated the complex aesthetics and politics at
work in representations of African American men in the post-Civil Rights
era. Looking Back at Black Male brought together exhibition curator
Golden, Hilton Als, a writer who edited the exhibition catalogue, and
Huey Copeland, art historian and critic, to discuss the exhibition and
its afterlives. The program considered Black Males significance for
cultural debates twenty years ago as well as how it has inspired artists
and curators working in its wake. At the beginning of the conversation,
Copeland remarked, 'As the nationwide protests of the unpunished
murders of two unarmed black men, Michael Brown and Eric Garner have
again brought into vivid focus, the 'black male' is a perennial site of
fear and projection, policing and pathology, contestation and
coalition.' He also stated that the exhibition was not about offering a
mirror or image of black masculinity, but providing a context to
comprehend how a black male might be produced visually, and the many
ways that one might work through that visual production. Referring to
the Black Male catalogue as a landmark anthology that has continually
sparked many conversations, and a five-part film program organized by
John Hanhardt, the Whitney's former film and video curator, Copeland
asked Golden and Als to talk about the ways in which they created a
multi-pronged curatorial and cultural approach to the exhibition. Golden
explained that in order to address the complexities of black
masculinity, the exhibition demanded many voices and perspectives. There
was no previous model for understanding the complicated manifestations
and nuances of representations of black men, and she described her
feeling that in order to make this exhibition, it was as if a new
language had to be invented. Both Golden and Als underscored the
importance of the multiple exhibition components to create a broader
context for considering the ideas and themes in the works themselves and
to engage a wide audience that Golden was hoping would visit the show.
Among these components was a context room (located within the
exhibition) that displayed a thematic timeline created by cultural
historian Maurice Berger, and a series of public programs organized by
Connie Wolf, former director of the Whitneys Education department. The
context room featured an introductory panel and ten large-scale wall
texts that, in Bergers words, were intended to 'narrate very selective
moments from this complex history of oppression, struggle, survival, and
triumph; it is meant as an adjunct to the Black Male exhibition, as a
space of learning and contemplation, as a means of contextualizing some
of the issues explored in the exhibition.' Themes included Community and
Leadership, Civil Rights, Business and Employment, Television and the
Media, and Gender and Sexuality. The Business and Employment text panel
provided historical information such as: '1971, The U.S. Bureau of Labor
statistics reports that African Americans lag far behind whites in
economic prosperity, earning three-fifths of the average white income.'
Public programs related to the exhibition included an extensive film
program as well as discussions of the event of the show itself. One of
these programs was a conversation between cultural historian and Harvard
University professor Henry Louis Gates, Jr. and philosopher and
activist Cornel West. At the beginning of the conversation, Gates asked
if the art-viewing public can 'move beyond all the polemics about so
called positive and negative imagery.' During their conversation about,
West mused, 'Did [the exhibition] shake you, did it unsettle you, did it
in some sense unstiffen your presuppositions as to who and what you are
in relation to these black bodies'' Gates emphasized that the
importance of discussing the questions posed by the artworks was not
only imperative to the exhibition as a whole, but also challenged the
viewer to probe his or her understanding of black masculinity. In her
discussion of the exhibition Black Male, Golden emphasized that its
accompanying programs were intended to frame the show in dialogue with
ideas far beyond the Museum's walls. Collectively the programs
encouraged broader conversations about the exhibition and related
cultural issues as a whole. As the exhibition's introductory wall panel
read: '. . . in the end, the images reveal how the study of art is an
essential tool for interpreting difficult social issues and promoting
change in our society. We also discover that through an understanding of
the social context, we gain a deeper appreciation of art itself.' -
Whitney Museum of American Art
Condition:Gut
Condition:mit Anstreichungen
Autor:THelma Golden
Sprache:Englisch
Buchtitel:Black Male
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