The Resource Mounting frustration : the art museum in the age of Black power, Susan E. Cahan
Mounting frustration : the art museum in the age of Black power, Susan E. Cahan
Resource Information
The item Mounting frustration : the art museum in the age of Black power, Susan E. Cahan represents a specific, individual, material embodiment of a distinct intellectual or artistic creation found in Waubonsee Community College.This item is available to borrow from 1 library branch.
Resource Information
The item Mounting frustration : the art museum in the age of Black power, Susan E. Cahan represents a specific, individual, material embodiment of a distinct intellectual or artistic creation found in Waubonsee Community College.
This item is available to borrow from 1 library branch.
- Summary
- "Prior to 1967 fewer than a dozen museum exhibitions had featured the work of African American artists. And by the time the civil rights movement reached the American art museum, it had already crested: the first public demonstrations to integrate museums occurred in late 1968, twenty years after the desegregation of the military and fourteen years after the Brown vs. Board of Education decision. In Mounting Frustration Susan E. Cahan investigates the strategies African American artists and museum professionals employed as they wrangled over access to and the direction of New York City's elite museums. Drawing on numerous interviews with artists and analyses of internal museum documents, Cahan gives a detailed and at times surprising picture of the institutional and social forces that both drove and inhibited racial justice in New York's museums. Cahan focuses on high-profile and wildly contested exhibitions that attempted to integrate African American culture and art into museums, each of which ignited debate, dissension, and protest. The Metropolitan Museum's 1969 exhibition Harlem on My Mind was supposed to represent the neighborhood, but it failed to include the work of the black artists living and working there. While the Whitney's 1971 exhibition Contemporary Black Artists in America featured black artists, it was heavily criticized for being haphazard and not representative. The Whitney show revealed the consequences of museums' failure to hire African American curators, or even white curators who possessed knowledge of black art. Cahan also recounts the long history of the Museum of Modern Art's institutional ambivalence toward contemporary artists of color, which reached its zenith in its 1984 exhibition "Primitivism" in Twentieth Century Art. Representing modern art as a white European and American creation that was influenced by the "primitive" art of people of color, the show only served to further devalue and cordon off African American art. In addressing the racial politics of New York's art world, Cahan shows how aesthetic ideas reflected the underlying structural racism and inequalities that African American artists faced. These inequalities are still felt in America's museums, as many fundamental racial hierarchies remain intact: art by people of color is still often shown in marginal spaces; one-person exhibitions are the preferred method of showing the work of minority artists, as they provide curators a way to avoid engaging with the problems of complicated, interlocking histories; and whiteness is still often viewed as the norm. The ongoing process of integrating museums, Cahan demonstrates, is far broader than overcoming past exclusions."--Publisher's description
- Language
- eng
- Extent
- xvi, 344 pages
- Contents
-
- Electronic refractions II at the Studio Museum in Harlem
- Harlem on my mind at the Metropolitan Museum of Art
- Contemporary Black artists in America at the Whitney Museum of American Art
- Romare Bearden : the prevalence of ritual and the sculpture of Richard Hunt at the Museum of Modern Art
- Isbn
- 9780822374893
- Label
- Mounting frustration : the art museum in the age of Black power
- Title
- Mounting frustration
- Title remainder
- the art museum in the age of Black power
- Statement of responsibility
- Susan E. Cahan
- Subject
-
- Museum exhibits -- Political aspects -- New York (State) | New York
- Museum exhibits -- Political aspects -- New York (State) | New York -- History -- 20th century
- Museum exhibits -- Social aspects -- New York (State) | New York
- Museum exhibits -- Social aspects -- New York (State) | New York -- History -- 20th century
- Racism in museum exhibits -- New York (State) | New York
- Racism in museum exhibits -- New York (State) | New York -- History -- 20th century
- African American art -- New York (State) | New York -- Exhibitions
- African American art -- New York (State) | New York -- Exhibitions | History -- 20th century
- Language
- eng
- Summary
- "Prior to 1967 fewer than a dozen museum exhibitions had featured the work of African American artists. And by the time the civil rights movement reached the American art museum, it had already crested: the first public demonstrations to integrate museums occurred in late 1968, twenty years after the desegregation of the military and fourteen years after the Brown vs. Board of Education decision. In Mounting Frustration Susan E. Cahan investigates the strategies African American artists and museum professionals employed as they wrangled over access to and the direction of New York City's elite museums. Drawing on numerous interviews with artists and analyses of internal museum documents, Cahan gives a detailed and at times surprising picture of the institutional and social forces that both drove and inhibited racial justice in New York's museums. Cahan focuses on high-profile and wildly contested exhibitions that attempted to integrate African American culture and art into museums, each of which ignited debate, dissension, and protest. The Metropolitan Museum's 1969 exhibition Harlem on My Mind was supposed to represent the neighborhood, but it failed to include the work of the black artists living and working there. While the Whitney's 1971 exhibition Contemporary Black Artists in America featured black artists, it was heavily criticized for being haphazard and not representative. The Whitney show revealed the consequences of museums' failure to hire African American curators, or even white curators who possessed knowledge of black art. Cahan also recounts the long history of the Museum of Modern Art's institutional ambivalence toward contemporary artists of color, which reached its zenith in its 1984 exhibition "Primitivism" in Twentieth Century Art. Representing modern art as a white European and American creation that was influenced by the "primitive" art of people of color, the show only served to further devalue and cordon off African American art. In addressing the racial politics of New York's art world, Cahan shows how aesthetic ideas reflected the underlying structural racism and inequalities that African American artists faced. These inequalities are still felt in America's museums, as many fundamental racial hierarchies remain intact: art by people of color is still often shown in marginal spaces; one-person exhibitions are the preferred method of showing the work of minority artists, as they provide curators a way to avoid engaging with the problems of complicated, interlocking histories; and whiteness is still often viewed as the norm. The ongoing process of integrating museums, Cahan demonstrates, is far broader than overcoming past exclusions."--Publisher's description
- Cataloging source
- NcD/DLC
- http://library.link/vocab/creatorName
- Cahan, Susan
- Dewey number
- 704.03/9607300747471
- Index
- index present
- LC call number
- N6538.N5
- LC item number
- C34 2016
- Literary form
- non fiction
- Nature of contents
- bibliography
- Series statement
- Art history publication initiative
- http://library.link/vocab/subjectName
-
- African American art
- Racism in museum exhibits
- Museum exhibits
- Museum exhibits
- African American art
- Racism in museum exhibits
- Museum exhibits
- Museum exhibits
- Label
- Mounting frustration : the art museum in the age of Black power, Susan E. Cahan
- Bibliography note
- Includes bibliographical references (pages 319-333) and index
- Carrier category
- volume
- Carrier category code
-
- nc
- Carrier MARC source
- rdacarrier
- Content category
- text
- Content type code
-
- txt
- Content type MARC source
- rdacontent
- Contents
- Electronic refractions II at the Studio Museum in Harlem -- Harlem on my mind at the Metropolitan Museum of Art -- Contemporary Black artists in America at the Whitney Museum of American Art -- Romare Bearden : the prevalence of ritual and the sculpture of Richard Hunt at the Museum of Modern Art
- Control code
- ocn907161723
- Dimensions
- 26 cm.
- Extent
- xvi, 344 pages
- Isbn
- 9780822374893
- Lccn
- 2015022351
- Media category
- unmediated
- Media MARC source
- rdamedia
- Media type code
-
- n
- System control number
-
- (Sirsi) i9780822358978
- (OCoLC)907161723
- Label
- Mounting frustration : the art museum in the age of Black power, Susan E. Cahan
- Bibliography note
- Includes bibliographical references (pages 319-333) and index
- Carrier category
- volume
- Carrier category code
-
- nc
- Carrier MARC source
- rdacarrier
- Content category
- text
- Content type code
-
- txt
- Content type MARC source
- rdacontent
- Contents
- Electronic refractions II at the Studio Museum in Harlem -- Harlem on my mind at the Metropolitan Museum of Art -- Contemporary Black artists in America at the Whitney Museum of American Art -- Romare Bearden : the prevalence of ritual and the sculpture of Richard Hunt at the Museum of Modern Art
- Control code
- ocn907161723
- Dimensions
- 26 cm.
- Extent
- xvi, 344 pages
- Isbn
- 9780822374893
- Lccn
- 2015022351
- Media category
- unmediated
- Media MARC source
- rdamedia
- Media type code
-
- n
- System control number
-
- (Sirsi) i9780822358978
- (OCoLC)907161723
Subject
- Museum exhibits -- Political aspects -- New York (State) | New York
- Museum exhibits -- Political aspects -- New York (State) | New York -- History -- 20th century
- Museum exhibits -- Social aspects -- New York (State) | New York
- Museum exhibits -- Social aspects -- New York (State) | New York -- History -- 20th century
- Racism in museum exhibits -- New York (State) | New York
- Racism in museum exhibits -- New York (State) | New York -- History -- 20th century
- African American art -- New York (State) | New York -- Exhibitions
- African American art -- New York (State) | New York -- Exhibitions | History -- 20th century
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<div class="citation" vocab="http://schema.org/"><i class="fa fa-external-link-square fa-fw"></i> Data from <span resource="http://link.library.waubonsee.edu/portal/Mounting-frustration--the-art-museum-in-the-age/u0sHXS3hnK0/" typeof="Book http://bibfra.me/vocab/lite/Item"><span property="name http://bibfra.me/vocab/lite/label"><a href="http://link.library.waubonsee.edu/portal/Mounting-frustration--the-art-museum-in-the-age/u0sHXS3hnK0/">Mounting frustration : the art museum in the age of Black power, Susan E. Cahan</a></span> - <span property="potentialAction" typeOf="OrganizeAction"><span property="agent" typeof="LibrarySystem http://library.link/vocab/LibrarySystem" resource="http://link.library.waubonsee.edu/"><span property="name http://bibfra.me/vocab/lite/label"><a property="url" href="http://link.library.waubonsee.edu/">Waubonsee Community College</a></span></span></span></span></div>
