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Last year, we invited artist, writer, and Queens College professor Chloë Bass to talk with curator, art historian, and museum veteran Lowery Stokes Sims to have a conversation of their choosing. It took me a year to publish this podcast, but I’m happy to say their words are more relevant today than ever, as the two art world figures discuss the imagined publics of contemporary art, public and private education, and the challenges of empathy and identity in art.
Bass is no stranger to Hyperallergic readers, and she’s known for her deep engagement with art and writing coupled with a solid understanding of the way art functions in the world and the emotional sophistication needed to outline those parameters.
Then there’s Lowery Stokes Sims, who has been a trailblazer throughout her career. She was on the education and curatorial staff of The Metropolitan Museum of Art from 1972 to 1999, during which time she specialized in modern and contemporary art. From 2000 to 2007, she was executive director and then president of The Studio Museum in Harlem, and served as Adjunct Curator for the Permanent Collection. Then from 2007 until 2015, she chief curator at New York’s Museum of Arts and Design.
I think you’ll agree that the following conversation offers useful insight into the worlds of two leading figures in New York’s art community.
This week, LA’s new Academy Museum, the intersections of anti-Blackness and anti-fatness, a largely unknown 19th century Black theater in NYC, sign language interpreters, and more.
Titian’s paintings are masterpieces, with all the complications of the term.
Through “Historic Site,” an 8-foot-tall plaque and Historic Sight, a year-long rotating exhibition in Pittsburgh, the Black Cube Fellows investigate how history is constructed, remembered, and retold.
Lawson’s images, and the ways that she has discussed her process, seem to be actively reproducing the kind of big-dick energy power dynamics of White male artists who also claim mastery over their subject matter.
Jenkins’s new short film, the centerpiece of a MoMI exhibit on The Underground Railroad, uses his signature techniques to confront the viewer.
Romanticism to Ruin: Two Lost Works of Sullivan and Wright memorializes Chicago’s Garrick Theatre and Buffalo’s Larkin Building, which were razed to build a parking lot and a truck stop.