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PDF Released for Review Purposes Only Not for Publication Or Wide only purposes distribution reviewwide for or released publication PDF for Not only purposes distribution reviewwide for or released publication PDF for Not AMONG OTHERS Darby English and Charlotte Barat BLACKNESS AT MoMA The Museum of Modern Art, New York CONTENTS BLACKNESS AT MoMA: A LEGACY OF DEFICIT Foreword Glenn D. Lowry onlyCharlotte Barat and Darby English 9 14 → 99 Acknowledgments 11 purposes distribution WHITE reviewwide BY DESIGN for Mabel O. Wilson or 100 → 109 released publication AMONG OTHERS PDF Plates for 111 → 475 Not Contributors 476 Trustees of The Museum of Modern Art 480 Plates Terry Adkins Marcel Broodthaers Melvin Edwards Leslie Hewitt Man Ray John Outterbridge Raymond Saunders James Van Der Zee A Akili Tommasino 112 Christophe Cherix 154 Paulina Pobocha 194 Roxana Marcoci 246 M Quentin Bajac 296 Nomaduma Rosa Masilela 340 Richard J. Powell 394 Kristen Gaylord 438 John Akomfrah Charles Burnett William Eggleston Richard Hunt Robert Mapplethorpe Euzhan Palcy Lasar Segall Melvin Van Peebles Kobena Mercer 114 Dessane Lopez Cassell 156 Matthew Jesse Jackson 196 Samuel R. Delany 248 Tavia Nyong’o 298 P Anne Morra 342 Edith Wolfe 396 Anne Morra 440 Njideka Akunyili Crosby Elizabeth Catlett Minnie Evans Hector Hyppolite Kerry James Marshall Gordon Parks Ousmane Sembène Kara Walker Christian Rattemeyer 116 C Anne Umland 158 Samantha Friedman 198 J. Michael Dash 250 Laura Hoptman 300 Dawoud Bey 344 Samba Gadjigo 398 W Yasmil Raymond 442 Emma Amos Nick Cave Fred Eversley Arthur Jafa Rodney McMillian Benjamin Patterson Richard Serra Jeff Wall Christina Sharpe 118 Margaret Aldredge-Diamond 160 Cara Manes 200 J Claudrena N. Harold 252 Anthony Elms 306 Antonia Pocock 348 Ana Torok 400 Kenneth W. Warren 448 El Anatsui Paul Chan Samuel Fosso Daniel LaRue Johnson Robert H. McNeill Raoul Peck Yinka Shonibare Carrie Mae Weems Sean Anderson 120 Peter Eleey 162 F Phil Taylor 202 Charlotte Barat 254 Deborah Willis 308 Luc Tuymans 352 Elvira Dyangani Ose 402 Lucy Gallun 450 Benny Andrews Barbara Chase-Riboud LaToya Ruby Frazier William H. Johnson Steve McQueen onlyAdam Pendleton Malick Sidibé Charles White Darby English 122 Jocelyn Miller 164 Klaus Biesenbach 204 Leah Dickerman 256 Stuart Comer 310 Adrienne Edwards 354 Susan M. Vogel 404 Esther Adler 454 Malcolm Bailey Ed Clark Lee Friedlander Isaac Julien Julie Mehretu Sondra Perry Gary Simmons Jack Whitten B Richard Meyer 124 Anne Umland 166 Robert Slifkin 206 Kobena Mercer 260 Leah Dickerman 312 Martha Joseph 356 Emily Cushman 406 Yasmil Raymond 456 Alvin Baltrop Ernest Cole Charles Gaines Seydou Keïta Oscar Micheaux Howardena Pindell Xaviera Simmons Bert Williams Douglas Crimp 126 Katerina Stathopoulou 168 Erica Papernik-Shimizu 208 KG Leslie Wilson 262 purposesLisa Collins 314 Jessica Bell Brown 358 Liz Donato 408 Ron Magliozzi 460 Álvaro Barrios Robert Colescott Ellen Gallagher Wifredo Lam Jeanne Moutoussamy-Ashe Horace Pippin Lorna Simpson Spencer Williams Luis Pérez-Oramas 128 Lowery Stokes Sims 170 Carol Armstrong 210 L Karen Grimson 264 Abigail Lapindistribution Dardashti 316 Sasha Nicholas 362 Starr Figura 410 Jacqueline Najuma Stewart 462 Jean-Michel Basquiat Warrington Colescott Sam Gilliam Jacob Lawrence Zanele Muholi Pope.L Ming Smith William T. Williams Hervé Télémaque 130 Mary Weaver Chapin 172 Jessica Bell Brown 216 Jodi Roberts 266 review Leslie Wilson 318 Stuart Comer 364 Darby English 412 Anne Umland 464 Romare Bearden Julie Dash Robert Gober Deana Lawson wideAïda Muluneh Candido Portinari Martine Syms Sue Williamson Jacqueline Francis 132 D Greg Tate 174 Robert Gober 218 Julia Bryan-Wilson 270 for or Carmen Merport Quiñones 320 Niko Vicario 368 Jocelyn Miller 414 Diana Fuss 466 Kevin Beasley Roy DeCarava Felix Gonzalez-Torres Spike Lee Wangechi Mutu Noah Purifoy Henry Taylor Fred Wilson Jenny Schlenzka 136 Fred Moten 176 Julie Ault 222 Sharon Willis 272 Heidi Hirschl Orley 322 Ed Ruscha 370 T Laura Hoptman 416 Kirsi Peltomäki 468 Mary Lee Bendolph Beauford Delaney Philip Guston Helen Levitt Alice Neel Martin Puryear Hervé Télémaque Hale Woodruff Jenni Sorkin 138 Glenn Ligon 178 Ross Posnock 224 Harmony Holiday 274 N Ann Temkin 324 Anne M. Wagner 372 Richard J. Powell 418 Mia Matthias 470 Dawoud Bey Thornton Dial David Hammons releasedNorman Lewis Senga Nengudi Marlon Riggs Alma Thomas Lynette Yiadom-Boakye Kelly Sidley 140 Jenni Sorkin 180 H Thomas J. Lax 226 Andriannapublication Campbell 276 Linda Goode Bryant 326 R Gregg Bordowitz 378 Ann Temkin 420 Y Paulina Pobocha 472 Skunder Boghossian Moustapha Dimé Marvin Harden Samella Lewis Philomé Obin Faith Ringgold Hank Willis Thomas Joseph E. Yoakum Kate Cowcher 142 Martin Puryear 182 Darby EnglishPDF 234 for Bouchra Khalili 280 O Edwidge Danticat 328 Anne Monahan 380 Sarah Hermanson Meister 424 Lynne Cooke 474 Margaret Bourke-White Jim Dine Lyle Ashton Harris Tony Lewis Chris Ofili Cameron Rowland Mickalene Thomas Irena Haiduk 144 Thomas Crow 184 Phillip Brian HarperNot 236 Hanna Girma 282 Ann Temkin 330 Thomas J. Lax 384 Giampaolo Bianconi 426 Frank Bowling Mati Diop David Hartt Glenn Ligon Lorraine O’Grady Betye Saar Bob Thompson Courtney J. Martin 146 Sophie Cavoulacos 186 Oluremi C. Onabanjo 238 Byron Kim 284 Ana Janevski 332 S Abbe Schriber 386 John Corbett 428 Mark Bradford Stan Douglas Maren Hassinger Kalup Linzy Hélio Oiticica Ibrahim El-Salahi Bill Traylor Michelle Kuo 148 Rachel Haidu 188 Paulina Pobocha 240 Amanda Hunt 290 Kaira M. Cabañas 334 Jenny Harris 388 Hillary Reder 432 Peter Bradley Marlene Dumas Palmer Hayden Whitfield Lovell Uche Okeke Chéri Samba Luc Tuymans Cannon Hersey 150 Samantha Friedman 190 Ashley James 242 Jodi Hauptman 292 Ugochukwu-Smooth C. Nzewi 336 Sarah Van Beurden 390 Kerry James Marshall 434 Constantin Brancusi William Edmondson Barkley L. Hendricks Al Loving José Clemente Orozco Jacolby Satterwhite Rubem Valentim Sebastian Zeidler 152 E Darby English 192 Ellen Gallagher 244 Cara Manes 294 Kara Walker 338 Lanka Tattersall 392 V Roberto Conduru 436 The Black Man is the one (or the thing) that one sees when one sees nothing, when one understands nothing, and, above all, when one wishes to understand nothing. —Achille Mbembe, Critique of Black Reason, 2013 BLACKNESS This essay tracks moments in which, over a succession of historical contexts and power relations, The Museum of Modern Art approached or encountered racial blackness. Until very recently, most black artists, their work, and representations of blackness swirling in MoMA’s immediate orbit were neverthe- less blocked from consciousness here. Indeed Achille Mbembe’s paradoxical notion, quoted above, about a cultural process dedicated to maintaining ignorance rather than to reversing it fits MoMA’s his- torical situation vis-à-vis race to a T. We hope to advance the conversation about this known fact by ex- AT MoMA: ploring its full historical scope. If we were simply describing MoMA’s paltry track record in this depart- ment, this would be a much smaller book. No, it’s worse: there are things MoMA has bought or shown in order not to understand them at all. And a nontrivial number of them have blackness in common. It’s not all bad news: since its founding in 1929, MoMA has made a number of innovative contri- butions to the cultural fields that black life transects, and has brought key artists to the audiences they deserve. The assumption is false that thisonly Museum, a frequent target of criticism because of its au- thority and capital, has had no meaningful involvement with black artists, or with issues stemming from racial blackness. It has; in truth, MoMA’s historical relationship with black artists and black audi- ences is an uneven one, alternating between moments of pioneering initiative and episodes of neglect and worse. Equally true: MoMA’s undertakings in these arenas from 1929 until today are marred by the use of supposedly colorblind criteria of “quality” and “importance” in judging art. For black people, women,purposes and other cultural minorities, this has meant much doublespeak and little opportunity. So one of the questions we ask here is, How have MoMA’s criteria functioned to render it open to some and closed to others? Are the stringency of these criteria and the vigilance of their application part of the Charlotte Barat and Darby English distribution reason why, when blackness manifests at MoMA, it does so in brief episodes and clusters? (The multi- reviewracial structure of this book experiments with an alternative model.) wideBy their very nature, art museums are selective, judging some work better than other work for a for variety of reasons. Too, they are necessarily institutional, which lends all their judgments a power of or decree. But at the end of the day, regardless of the power and influence they claim or acquire, art museums are human systems: unstable, grounded in bias, habitual, and difficult to modify. Their views of the terrain they survey are incomplete at best; that is how, late in 2018, more than 75 percent of 10,108 artists represented in the country’s most important museums were white men.1 Even though changing over time, the cultural norms of The Museum of Modern Art, a bulwark of artistic achieve- released ment, have only lately encompassed racial blackness. And this to a minimal degree. publication All museums are emblematic of an urge, ever present in modernity, not merely to classify and order but to homogenize. The goal has been to create entities whose unity mirrors that of cities, states, PDF for ethnicities, sexes, classes, and other putatively bounded human communities. Many museums were created with the aim of making wholes from parts that no unity could otherwise contain. This is a project in which no art museum has or could ever succeed, because art, as nothing else, reveals the variety of Not the conceptions and forms that human expression again and again proves, especially when it is creative.
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