Thelma golden biography sample

There isn't a museum director who has done more for her institution than Thelma has done for hers. Golden appeared on ArtReview ' s list of the most influential people in the international art world every year from to and from to From toshe placed in the top Contents move to sidebar hide. Article Talk. Read Edit View history. Tools Tools.

Download as PDF Printable version. In other projects. Wikidata item. American art museum curator born For other uses, see Thelma Golden softball. Queens, New York. Duro Olowu.

Thelma golden biography sample

Early life and education [ edit ]. Whitney Museum of American Art [ edit ]. Studio Museum in Harlem [ edit ]. Other activities [ edit ]. Personal life [ edit ]. Notable awards and recognition [ edit ]. References [ edit ]. The Wall Street Journal. ISSN Retrieved June 9, August 12, Retrieved August 12, The New Yorker. Retrieved March 9, The New York Times.

Retrieved July 6, ISSN X. And a Power Player at the Helm". Retrieved August 28, February 3, September 30, Retrieved March 6, September 4, Retrieved August 13, Retrieved June 12, It's OK; she can stand the heat". The Los Angeles Times. Whitney Museum of American Art. January 20, Retrieved June 8, If the th Street vendors picketed the storeowners and merchants because the police evicted them, the Black Men might consider demonstrating against art schools and art supply stores for assisting in perpetuating these recorded images.

When Golden heard similar perspectives voiced in the Los Angeles black community when the show toured at UCLA, she responded with the frustration of an artist misunderstood by her audience. I'm done with that. I can't even go there anymore. I can't even remember what I used to say about that…. Work that is branded homoerotic in content is branded negative, and implicit in that statement is that that is wrong—so therefore the work is negative.

You can't even talk about an entry into a certain feminist dialogue, because feminism is wrong! To conservative white critics who charged her with overlooking artistic values for black identity politics, Golden answered with a reasoned dismissal. Greg Tate, a young black writer for Vibe who contributed an essay for the exhibition catalog, summarized Golden's response: "Contrary to what some evil-ass critics like Hilton Kramer in the New York Observer have written about Golden, she does love art as much as she does being black, and unlike Kramer doesn't believe the two are mutually exclusive.

Critical response to how successfully each artist and the show itself succeeded in defining beauty and challenging viewers varied. First, Essence writer Veronica Chambers surveyed the scene comprehensively. Calling the show Golden's "largest and boldest exhibit yet," Chambers reported, "Golden … is simultaneously getting kudos and catching hell for her 'adventurous' taste.

Still Kimmelman found some work of value: "Much of it is the predicable inside-the-art-world-Beltway stuff that the Whitney, and countless SoHo galleries, have regularly been offering. It certainly tries to sit on both sides of the argument. And, given the firestorm around the last Biennial, that is perhaps understandable. Thelma Golden continued pressuring for more inclusion of African Americans and people of color into the art world through the s.

During her decade at the Whitney, Golden rose to the position of curator and director of branch museums by and left for other opportunities in While at the Whitney she hoped to press the public to look beyond stereotypes and to open up the mainstream museum to African-American and other previously under-represented artists and art-lovers.

Three years after being named curator and director of branch museums at the Whitney, Golden decided to seek other opportunities. Working briefly as the special projects curator for the Peter Norton Family Foundation, she accepted a job at the Studio Museum in Harlem in She would be able to work with the woman who had long ago inspired her, Lowery Stokes Sims, the Museum's executive director.

The Museum had focused mainly on contemporary works by African Americans, but Golden helped to set a new agenda, one that would include the large African diaspora and incorporate references to the multicultural influences on African-American art. Golden emphasized the importance of the new agenda in Essencesaying that "never before had there been so many artists of African and African-American descent bursting onto the scene.

As Golden began her work at the Studio Museum, she had to mount a hurdle. People were having difficulty with the label "black art. It had filled a whole decade, the 80's, with conferences and books and articles about what it meant. I felt that because so many artists were investigating this it couldn't be ignored," she explained to the Gothamist.

Although she tried to use the label to simply categorize artists and not a style of art, she had trouble finding a good definition for "black art," and began to explore thelma golden biography sample terms. The artist Glenn Ligon and I began to refer to this stance, this attitude, as post-black art, meaning that these younger artists seemed not oppressed by the strangle-hold of the terminology….

Somewhat ironically, we began referring to it as post-black art, and then it got shortened to post-black. It was a way for me to put a very loose bracket around a way to understand a thelma golden biography sample generation. Golden's early work at the Museum with Sims not only helped redefine the art of artists of African descent and doubled museum membership, but also, as Sims told Essence"reestablished" the Museum "as a magnet for art lovers and emerging artists.

Golden clearly enjoyed her work. In countless interviews, Golden offered a constant stream of new ideas about art and clearly relished creating exhibits. She described her exhibit of Gary Simmons art in a diary for Slate as "emblematic of what I consider my best work, as it comes from a combination of deep engagement with an artist's practice and a constant desire to be in dialogue.

Becoming the executive director of the Studio Museum in upon the retirement of Sims, Golden had even greater opportunities to leave her mark on the American art world. Greene, Carroll, Jr. Brief Biographies Biographies: E mily R. Education: Smith College, BA, art history, Sources Books Greene, Carroll, Jr. Periodicals ArtforumDecemberp.

Art in AmericaMaypp. CrisisMarch-Aprilp. EssenceNovemberp.