How has your curatorial vision shifted in the last few years as museums seek to attract new audiences and remain relevant while contending with outdated hierarchies and value systems? What kinds of tensions do you perceive in your curatorial ambitions?Īlejandro Vergara: Tensions between a curator’s goals and the audience’s expectations, as well as those of the institution, always inform exhibitions. Yao-Fen You: The past year has proved to be incredibly challenging for museums as we continue to navigate the dual pandemics of a deadly virus and corrosive racism. Yao-Fen You ( Moderator), Acting Deputy Director of Curatorial and Senior Curator and Head of Product Design and Decorative Arts, Cooper Hewitt, Smithsonian Design Museum, New York.Bert Watteeuw, Director, Rubenshuis, Musea Antwerpen, Antwerp.Alejandro Vergara, Senior Curator of Flemish and Northern European Paintings, Museo Nacional del Prado, Madrid.Elizabeth Cleland, Curator, European Sculpture and Decorative Arts, Metropolitan Museum of Art, New York.Participants in the first roundtable, March 2021 Both conversations, edited and condensed for clarity for publication in JHNA, have been organized and moderated by Yao-Fen You, Acting Deputy Director of Curatorial and Senior Curator and Head of Product Design and Decorative Arts, Cooper Hewitt, Smithsonian Design Museum, New York. It will also address new research methodologies that inherently expand inclusiveness and surface new types of historical data, leading to a more people-oriented presentation of art history. Discussants, including a member of their advisory committee from the cultural sector in Indonesia, will reflect on the humility and resourcefulness necessary to present shameful racist histories, the impact of sharing personal-rather than merely collective-stories in the galleries, and the need for museums to participate in the healing of historical wounds. This point will be taken up by the next JHNA Conversation, to be published in the winter 2022 issue, which will reconvene the curatorial team for the groundbreaking exhibition Asia in Amsterdam: The Culture of Luxury in the Golden Age, organized by the Rijksmuseum and the Peabody Essex Museum in 2015–16. The discussion closes with a look at the global entanglement of early modern Europe. In addressing the increasing momentum for new art-historical ecologies in recent years, the participants discuss the inherently marginalizing effects of canonization signal the tensions between the art market, perceived museum audiences, and historical collections that continue to shape museum presentations and collecting practices and highlight some objects from the early modern period that suggest pathways forward for more expansive conversations in museum spaces. This first one, “Expanded and Expanding Narratives in the Museum,” unites four curators in discussion about the evolving trajectory of art history and the possibilities for new narratives in the galleries. A landmark publication, this book illustrates what it means (in the words of Nina Simone) to be young, gifted and Black in contemporary art.ĩ.5 inches W x 11 inches L x 1.As the cultural sector continues to grapple with the challenging and transformative events of 2020 spotlighting the exclusionary practices and social norms that structure museums, JHNA commissioned two roundtables to reflect on the challenges of curating Northern European art. It features a wide-ranging interview with Bernard Lumpkin and Thelma Golden, director and chief curator of the Studio Museum in Harlem and an in-depth essay by Antwaun Sargent situating Lumpkin in a long lineage of Black art patrons. Young, Gifted and Black contextualizes artworks with contributions from artists, curators and other experts. At a moment when debates about the politics of visibility within the art world have taken on renewed urgency, and establishment voices such as the New York Times are declaring that "it has become undeniable that African American artists are making much of the best American art today," Young, Gifted and Black takes stock of how these new voices are impacting the way we think about identity, politics and art history itself. Edited by writer Antwaun Sargent (author of The New Black Vanguard: Photography Between Art and Fashion), Young, Gifted and Black draws from this collection to shed new light on works by contemporary artists of African descent. But there has never been an opportunity to consider their acclaimed collection as a whole until now. Boccuzzi have championed emerging artists of African descent through museum loans and institutional support. This book surveys the work of a new generation of Black artists and also features the voices of a diverse group of curators who are on the cutting edge of contemporary art.
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