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Thomas Crow envisions a more modest museum - Artforum International
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New Museum Taps Salome Asega to Lead Cultural Incubator NEW INC
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58th Carnegie International to Open September 2022 - Artforum International
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By Jonathan Rayner24 May 2021
There is an event that catches my eye as interesting – a talk with questions, organised for people like me by someone who ultimately hopes to get some money out of our relationship. So here I am, as so often before, sitting promptly and comfortably with an early evening glass of wine waiting for a topical lecture to start. Only the socks drying on the radiator detract from the feeling that I am having a nicely high-level experience. This event - for university alumni, as it happens – is, of course, online.
Even though the organisers could open the event to anyone at little cost, it is invitation-only, and apart from the hosiery aspect I am feeling quite special – right up to the point where my eldest daughter, who has joined me, leans over and types a message to the speaker in the event chat box: ‘I like yr shelves!’ (a comment that, of course, all attendees can see and which is attributed to me).
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Itâs not very often that you visit a museum exhibition and see your feelings precisely on display. As a Black woman whose work and writing sit at the intersection of grief and racism, I have always felt a deep sense of responsibility to acknowledge Black grief. In a country keen to remind us that we are less than, even in death, Black people need spaces and places where they can safely mourn. The exhibition at New Yorkâs New Museum, âGrief and Grievance: Art and Mourning in Americaââwhich was conceived by curator Okwui Enwezor in 2018âserves as a public reminder that Black grief matters, independent of any whiteness. (Enwezor passed away in 2019 at the age of 55, while curating this exhibit.) The pain that comes from living with Black skin in this country has a right to stand on its own. Black people are worthy of honor and care.