Among Others: Blackness at MoMa by Darby English


Among Others: Blackness at MoMa
Title : Among Others: Blackness at MoMa
Author :
Rating :
ISBN : 1633450341
ISBN-10 : 9781633450349
Language : English
Format Type : Hardcover
Number of Pages : 488
Publication : Published January 1, 2022

This expansive collection of essays on nearly 200 works in the collection of the Museum of Modern Art is the first substantial exploration of MoMA’s uneven historical relationship with black artists, black audiences and the broader subject of racial blackness. By addressing these subjects through the consideration of works produced either by black artists or in response to race-related subjects, Among Others confronts two kinds of truth: one plainly factual and informative, the other moral. It is equal parts historical investigation and truth-telling about the Museum’s role in the history of the cultural politics of race.
The richly illustrated volume begins with two historical essays. The first, by Darby English and Charlotte Barat, traces the history of MoMA’s encounters with racial blackness since its founding―from an early commitment to African art and solo exhibitions devoted to the work of artists such as William Edmondson and Jacob Lawrence in the 1930s and 1940s to its activities during the Civil Rights Movement to the controversial Primitivism show of 1984 and beyond. The second essay, by Mabel O. Wilson, scrutinizes the Museum’s record in collecting the work of black architects and designers. Following these essays are nearly 200 plates, each accompanied by an essay by one of the over 100 authors who hail from a range of fields.

Among Others: Blackness at MoMa Reviews

  • Vikas Singh

    The most interesting part is the section on Hank Willis Thomas on his iconic work- So glad we made it. For a marketeer this is quite an engaging piece with the way Thomas engages with advertising and its socio-economic context. By removing the logos and brand references he allows the viewer to reinterpret the meaning. Interesting read

  • Rel

    I flipped through the essay portion of this more quickly than (I can see now) it almost certainly deserves. I wasn't sure if I was interested in how MoMa was going to ...justify (?) their historical (or even ongoing) exclusion and underrepresentation of Black artists. I just came for the art, so I looked at the small representations (nice that they're mostly in color, actually) art in the marginalia of this section, and moved along quickly.

    I am not very far into 'the art portion' yet, but already I am totally blown away by ... well, how sad it is that art this obviously beautiful and profound isn't more visible.

    The art I recognize is gratifying (Emma Amos, or Dawoud Bey, or Basquiat, etc.) but it's horrifying and yes, a bit astounding to me just how many artists I now need to know a lot more about ... just from seeing a single piece of their art.

    In the first couple of pages, the piece And We Begin to Let Go by Njideka Akunyili Crosby (2013)... showed me something I didn't know about Kehinde Wiley, and now I need to go learn about a whole bunch of things of which I'm not even yet sure what they are.

    There were a couple Romare Bearden pieces shown, and I found them all educational. I think I understand their context a bit better than I did before.

    Frank Bowling (1973) Giving Birth Astride A Grave. Fuck. Like, this exists in the same world as Rothko paintings, and it's, like, maybe so much better at the same thing?

    Marcel Broodthaers (1963-1964) Le Probleme noir en Belgique is where I had to stop and write this update.

    So many more, honestly, and I'm not even through with the Bs.

    This is a super interesting cross-section, already. Whatever else comes of it, and whatever the content of the essays, this is a great experience.

  • Terri

    Within the pages of this book lies a treasure trove of art history, revealing the remarkable talent of countless artists who happen to be Black. Darby English and Charlotte Barat have introduced me to their invaluable contributions. Yet, it's disheartening to uncover the obstacles they faced while seeking their rightful place in the art world, despite their substantial impact.

    This captivating book deserves a prominent spot on any coffee table in any home. For parents of school-age children, it's an excellent addition to a home library, serving as a valuable resource that extends beyond the 12th grade.

  • Jonathan Frederick Walz

    Excellent. Thought provoking.

  • Meredith Goldsmith

    I'm working my way--slowly--through this account of the complicated history of Blackness, exclusion and inclusion at New York's Museum of Modern Art from the museum's inception to the present. Through the framing essay by Darby English and Charlotte Barat, we learn how the museum "approached or encountered racial blackness" from its earliest days. Much of this is not a complimentary story, as principles of exclusion and white supremacy dominated the thinking of curators and museum executives, some of whom labeled the work of artists of color "primitive," and some who exploited these artists economically. Yet we also learn of countermovements: Black and Puerto Rican artists who challenged the exclusion of artists of color from the museum, vanguard curators and museum professionals both black and white who countered perceptions, diversified collections, and engaged the audiences of New York inclusively. There are hundreds of color images of the works of artists of color with thoughtful analyses by art historians and curators.

    As a non-art-historian, I am finding this an essential work of context not only for MoMA, but museum-going more generally. It will prompt readers to think about what we see, what we don't see, and why.