Jones has received numerous awards for her work and in 2016 she was named a MacArthur Foundation Fellow. Kellie Jones is Associate Professor in Art History and Archaeology and the Institute for Research in African American Studies (IRAAS) at Columbia University. Golden took up a new challenge in 2000, joining the Studio Museum in Harlem and becoming executive director and chief curator in 2005.ĭr. Since disrupting the status quo with her 1994 exhibition, Black Male: Representations of Masculinity in Contemporary American Art, Golden has continued to create challenging dialogues around art and artists, making her one of the most respected curators in America. Thelma Golden has become a driving force in the art world. Previously, she was Assistant Curator of American Art at the Brooklyn Museum. Choi is the Associate Curator of the Permanent Collection at The Studio Museum in Harlem. More than a document of a particular institution's trailblazing path, or catalytic role in the development of American appreciation for art of the African diaspora, this volume is a compendium of a vital art tradition. More than a document of a particular institution's trailblazing path, or catalytiing modern and contemporary art by artists of African descent. More than a document of a particular institution's trailblazing path, or catalytic role in the development of American appreciation for art of the African diaspora, this volume is a compendium of a vital art tradition.ing modern and contemporary art by artists of African descent.
A dialogue between Thelma Golden, Connie Choi, and Kellie Jones draws out themes and challenges in collecting and exhibiting modern and contemporary art by artists of African descent. Butler, Akili Tommasino, Taylor Aldridge, Larry Ossei Mensah, Daniela Fifi, and other luminaries contextualize the works and provide detailed commentary. Rather than aim to construct a single history of "black art," Black Refractions emphasises a plurality of narratives and approaches, traced through 125 works in all media from the 1930s to the present.Īn essay by Connie Choi and entries by Eliza A. Through exhibitions, public programs, artist-in-resdiencies, and bold acquisitions, this pioneering institution has served as a nexus for artists of African descent locally, nationally, and internationally since its founding in 1968. The artists featured in Black Refractions, including Kerry James Marshall, Faith Ringgold, Nari Ward, Norman Lewis, Wangechi Mutu, and Lorna Simpson, are drawn from the renowned collection of the Studio Museum in Harlem.
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