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Golden's first curatorial position was at the [[Studio Museum in Harlem]] in 1987. She was then a curator at the [[Whitney Museum of American Art]] from 1988 to 1998. She was the visual arts director at the [[Jamaica Center for Arts & Learning|Jamaica Arts Center]] in Queens<ref name=NYT91>{{Cite news|url=https://www.nytimes.com/1991/05/08/style/chronicle-430791.html|title=Chronicle|last=Anderson|first=Susan Heller|access-date=2018-06-12|newspaper=The New York Times|date=May 8, 1991 |language=en}}</ref> before she became director of the Whitney Museum's outpost in midtown Manhattan (since closed) in 1991.<ref name=NYT91></ref> In 1993, she organized the museum's biennial, which was criticized by some for its social and political themes and became "one of most hotly debated Whitney shows ever".<ref>{{cite web |url=https://www.nytimes.com/1996/04/07/nyregion/art-how-a-curator-temporarily-turns-into-a-judge.html |title=How a Curator Temporarily Turns Into a Judge|last=Zimmer |first=William |date=April 7, 1996 |website=[[The New York Times]] |publisher= |access-date=August 12, 2023 |quote=}}</ref><ref name=NYT94>{{cite web |url=https://www.nytimes.com/1994/12/12/arts/black-images-stir-up-strong-emotions.html |title=Black Images Stir Up Strong Emotions |last=Richardson |first=Lynda |date=December 12, 1994 |website=[[The New York Times]] |publisher= |access-date=August 12, 2023 |quote=}}</ref>
Golden's first curatorial position was at the [[Studio Museum in Harlem]] in 1987. She was then a curator at the [[Whitney Museum of American Art]] from 1988 to 1998. She was the visual arts director at the [[Jamaica Center for Arts & Learning|Jamaica Arts Center]] in Queens<ref name=NYT91>{{Cite news|url=https://www.nytimes.com/1991/05/08/style/chronicle-430791.html|title=Chronicle|last=Anderson|first=Susan Heller|access-date=2018-06-12|newspaper=The New York Times|date=May 8, 1991 |language=en}}</ref> before she became director of the Whitney Museum's outpost in midtown Manhattan (since closed) in 1991.<ref name=NYT91></ref> In 1993, she organized the museum's biennial, which was criticized by some for its social and political themes and became "one of most hotly debated Whitney shows ever".<ref>{{cite web |url=https://www.nytimes.com/1996/04/07/nyregion/art-how-a-curator-temporarily-turns-into-a-judge.html |title=How a Curator Temporarily Turns Into a Judge|last=Zimmer |first=William |date=April 7, 1996 |website=[[The New York Times]] |publisher= |access-date=August 12, 2023 |quote=}}</ref><ref name=NYT94>{{cite web |url=https://www.nytimes.com/1994/12/12/arts/black-images-stir-up-strong-emotions.html |title=Black Images Stir Up Strong Emotions |last=Richardson |first=Lynda |date=December 12, 1994 |website=[[The New York Times]] |publisher= |access-date=August 12, 2023 |quote=}}</ref>


The following year, Golden curated a show that would become still more controversial: ''Black Male: Representations of Masculinity in Contemporary Art'' (1994–95). This exhibition explored negative stereotypes of black masculinity, including homelessness and criminality.<ref name=NYT94></ref> It included artworks by [[Jean-Michel Basquiat]], [[Robert Mapplethorpe]], [[Glenn Ligon]], [[Dawn DeDeaux]], and [[David Hammons]], as well as films such as [[Gordon Parks]]' ''[[Shaft]]'' and [[Marlon Riggs]]' ''[[Tongues Untied]]''.<ref> {{cite web |url=https://www.latimes.com/archives/la-xpm-1995-04-23-ca-57939-story.html |title=As Defiant as Always : Thelma Golden, curator of the L.A.-bound 'Black Male,' has been caught in a firestorm of criticism and protest. It’s OK; she can stand the heat.|last=Haithman |first=Diane |date=April 23, 1995 |website=[[The Los Angeles Times]] |publisher= |access-date=August 13, 2023 |quote=}}</ref>
The following year, Golden curated a show that would become still more controversial: ''Black Male: Representations of Masculinity in Contemporary Art'' (1994–95). This exhibition explored negative stereotypes of black masculinity, including homelessness and criminality.<ref name=NYT94></ref> It included artworks by [[Jean-Michel Basquiat]], [[Robert Mapplethorpe]], [[Glenn Ligon]], [[Dawn DeDeaux]], and [[David Hammons]], as well as films such as [[Gordon Parks]]' ''[[Shaft (1971 film)|Shaft]]'' and [[Marlon Riggs]]' ''[[Tongues Untied]]''.<ref> {{cite web |url=https://www.latimes.com/archives/la-xpm-1995-04-23-ca-57939-story.html |title=As Defiant as Always : Thelma Golden, curator of the L.A.-bound 'Black Male,' has been caught in a firestorm of criticism and protest. It’s OK; she can stand the heat.|last=Haithman |first=Diane |date=April 23, 1995 |website=[[The Los Angeles Times]] |publisher= |access-date=August 13, 2023 |quote=}}</ref>


Some older artists described the show's exploration of stereotypes as "irresponsible",<ref name=nytfear>{{cite news |last1=Richardson |first1=Lynda |title=The art of plunging in without fear |url=https://www.nytimes.com/2001/05/01/nyregion/public-lives-the-art-of-plunging-in-without-fear.html |access-date=July 6, 2015 |newspaper=The New York Times |date=May 1, 2001}}</ref> while art historian Linda Nochlin described it as "one of the liveliest and most visually engaging exhibitions" of the season.<ref name=Nochlin>{{cite web |url=https://www.artnews.com/art-in-america/features/from-the-archive-linda-nochlin-on-black-male-63243/ |title=From the Archives: Linda Nochlin on Black Male |last=Nochlin |first=Linda |date=February 6, 2017 |website=[[ArtNews]] |publisher= |access-date=August 12, 2023 |quote=}}</ref> ''[[The New York Times]]'' noted that the show was bringing unusually large black audiences to the museum, but that the artwork left them polarized in their reactions.<ref name=NYT94></ref> Despite being initially "critically pummeled", the show's reputation improved in the following years.<ref name=NYT00></ref> Within a decade, the ''Times'' was describing it as "an important show"<ref name=NYT00></ref>, and two decades later, both ''[[ArtNews]]'' and the Whitney itself described it as a "landmark exhibition".<ref name=Nochlin></ref><ref> {{cite web |url=https://whitney.org/education/education-blog/looking-back-at-black-male1 |title=Looking Back at ''Black Male'' |last= |first= |date=January 20, 2015 |website= |publisher=[[Whitney Museum of American Art]] |access-date=August 12, 2023 |quote=}}</ref>
Some older artists described the show's exploration of stereotypes as "irresponsible",<ref name=nytfear>{{cite news |last1=Richardson |first1=Lynda |title=The art of plunging in without fear |url=https://www.nytimes.com/2001/05/01/nyregion/public-lives-the-art-of-plunging-in-without-fear.html |access-date=July 6, 2015 |newspaper=The New York Times |date=May 1, 2001}}</ref> while art historian Linda Nochlin described it as "one of the liveliest and most visually engaging exhibitions" of the season.<ref name=Nochlin>{{cite web |url=https://www.artnews.com/art-in-america/features/from-the-archive-linda-nochlin-on-black-male-63243/ |title=From the Archives: Linda Nochlin on Black Male |last=Nochlin |first=Linda |date=February 6, 2017 |website=[[ArtNews]] |publisher= |access-date=August 12, 2023 |quote=}}</ref> ''[[The New York Times]]'' noted that the show was bringing unusually large black audiences to the museum, but that the artwork left them polarized in their reactions.<ref name=NYT94></ref> Despite being initially "critically pummeled", the show's reputation improved in the following years.<ref name=NYT00></ref> Within a decade, the ''Times'' was describing it as "an important show"<ref name=NYT00></ref>, and two decades later, both ''[[ArtNews]]'' and the Whitney itself described it as a "landmark exhibition".<ref name=Nochlin></ref><ref> {{cite web |url=https://whitney.org/education/education-blog/looking-back-at-black-male1 |title=Looking Back at ''Black Male'' |last= |first= |date=January 20, 2015 |website= |publisher=[[Whitney Museum of American Art]] |access-date=August 12, 2023 |quote=}}</ref>

Revision as of 00:54, 14 August 2023

For other uses, see Thelma Golden (softball).

Thelma Golden
BornSeptember 22, 1965 (1965-09-22) (age 59)
Queens, New York
Alma materSmith College
Occupation(s)Museum director and chief curator
Years active1987 (1987)–present

Thelma Golden (born 1965 in St. Albans, Queens[1]) is the Director and Chief Curator of The Studio Museum in Harlem, New York City, United States.[2] She is noted as one of the originators of the term post-blackness.[3] From 2017 to 2020, ArtReview chose her annually as one of the 10 most influential people in the contemporary art world.[4]

From 1991 to 1998, Golden was a curator at the Whitney Museum of American Art, where she gained a reputation for promoting young black conceptual artists. In her 1993 biennial and her 1994 exhibition Black Male, she introduced political and controversial works into the Whitney's collection.[5] Golden joined the Studio Museum as Deputy Director for Exhibitions and Programs in 2000 before succeeding Lowery Stokes Sims, the museum's former director and president, in 2005.

Early life and education

Thelma Golden grew up in Queens, New York.[6] She had an interest in art from an early age and was particularly influenced by H. W. Janson's History of Art.[7] She had her first hands-on training as a senior in high school at the New Lincoln School, training as a curatorial apprentice at the Metropolitan Museum of Art. Her decision to become a curator was inspired by Lowery Stokes Sims, the first African-American curator of that museum.[1] Golden graduated from Buckley Country Day School in 1980 and earned a B.A. in Art History and African-American Studies from Smith College in 1987.[8]

As a student, Golden helped put several exhibitions together at the Smith College Museum of Art, including one called Dorothy C. Miller: With an Eye to American Art, about the "Americans" exhibitions of MoMA curator Dorothy Canning Miller.[9] Golden also worked as an intern at The Studio Museum in 1985.[6]

Whitney Museum of American Art

Golden's first curatorial position was at the Studio Museum in Harlem in 1987. She was then a curator at the Whitney Museum of American Art from 1988 to 1998. She was the visual arts director at the Jamaica Arts Center in Queens[10] before she became director of the Whitney Museum's outpost in midtown Manhattan (since closed) in 1991.[10] In 1993, she organized the museum's biennial, which was criticized by some for its social and political themes and became "one of most hotly debated Whitney shows ever".[11][12]

The following year, Golden curated a show that would become still more controversial: Black Male: Representations of Masculinity in Contemporary Art (1994–95). This exhibition explored negative stereotypes of black masculinity, including homelessness and criminality.[12] It included artworks by Jean-Michel Basquiat, Robert Mapplethorpe, Glenn Ligon, Dawn DeDeaux, and David Hammons, as well as films such as Gordon Parks' Shaft and Marlon Riggs' Tongues Untied.[13]

Some older artists described the show's exploration of stereotypes as "irresponsible",[14] while art historian Linda Nochlin described it as "one of the liveliest and most visually engaging exhibitions" of the season.[15] The New York Times noted that the show was bringing unusually large black audiences to the museum, but that the artwork left them polarized in their reactions.[12] Despite being initially "critically pummeled", the show's reputation improved in the following years.[16] Within a decade, the Times was describing it as "an important show"[16], and two decades later, both ArtNews and the Whitney itself described it as a "landmark exhibition".[15][17]

While with the Whitney, Golden also organized solo shows of the works of Bob Thompson.[18] Lorna Simpson,[1] and Jacob Lawrence.[1] In November 1998, Golden and fellow curator Elisabeth Sussman resigned from their positions after not being assigned portfolios by new museum director Maxwell L. Anderson.[18][19] Philanthropist Peter Norton, who had helped fund Golden's Black Male exhibition, resigned from the Whitney's board of trustees in response to Golden's departure.[16]

Studio Museum in Harlem

Golden was the Special Projects Curator for contemporary art collectors Peter Norton and Eileen Harris Norton from 1998 to 2000.[5] She then joined the Studio Museum in Harlem--at the time the country's only accredited museum of African-American Art--in 2000 as deputy director for exhibitions.[1][16] Former MoMA curator Lowery Stokes Sims was appointed at the same time as the museum's new director.[16]

At the museum, Golden organized exhibitions including Isaac Julien: Vagabondia (2000); Martin Puryear: The Cane Project (2000); Glenn Ligon: Stranger (2001); the Freestyle Exhibition (2001); Black Romantic: The Figurative Impulse in Contemporary Art (2002); harlemworld: Metropolis as Metaphor (2004); Chris Ofili: Afro Muses (2005);[20] Frequency (2005–06),[1] with Christine Y. Kim; Africa Comics (2006–07); and Kori Newkirk: 1997–2007 (2007–08). She championed the work of artists such as Kehinde Wiley, Glenn Ligon, and Njideka Akunyili Crosby.[7]

In 2005, Golden became the Studio Museum's director and chief curator.[21] She adjusted the museum's schedule so that Wednesdays were devoted to school trips and private events, but Thursdays and Fridays the museum was open into the evening so that a wider range of guests could visit.[22] The museum also began to give away postcards of the artists' works to all guests.[22]

The Studio Museum's attendance increased 27% in the first decade of her tenure as director,[1] and Met director Glenn D. Lowry credited Golden with having made the Studio Museum "a national institution".[7] Under Golden's leadership, a $125 million expansion was begun in 2017.[23] Designed by Adjaye Associates and Cooper Robertson, it was the museum's first purpose-built expansion.[24][7]

First Lady Michelle Obama and Thelma Golden during a tour of the Studio Museum in Harlem, 2011

Other activities

In 2009, she presented "How Art Gives Shape to Cultural Change" at the TED conference's 25th anniversary gathering.[25] In 2008, she was a member of the advisory team of the Whitney Biennial[26] and in 2007 acted as a juror for the UK Turner Prize. In 2004, Golden curated a retrospective of fashion designer Patrick Kelly at the Brooklyn Museum. She then co-curated the traveling exhibition Glenn Ligon: Some Changes in 2005.

Golden serves on the Graduate Committee at the Center for Curatorial Studies at Bard College, is a member of the Association of Art Museum Directors,[8] is on the boards of Creative Time in New York and the Institute of International Visual Arts (inIVA) in London, and was a 2008 Henry Crown Fellow at the Aspen Institute.[8] The New York City's cultural advisory committee invited Golden to serve on their committee in 2015.[27] In 2016, Golden became a member on the board of trustees at the Los Angeles County Museum of Art (LACMA).[28]

In 2010, Golden was appointed to the Committee for the Preservation of the White House.[29] During Barack Obama's presidency, in 2015,[29] Golden joined the board of directors at the Obama Foundation as she had been asked to organize the design and plan of the presidential library.[30] Golden served on the Committee for the Preservation of the White House until 2016.[31]

Personal life

Golden met London-based fashion designer Duro Olowu in 2006 and married him in 2008.[32] On 11 February 2014, she was among the guests invited to the state dinner hosted by U.S. President Barack Obama in honor of President François Hollande at the White House.[33] Golden was seated immediately to President Obama's left.[1][32]

Awards

Publications

  • 1990: The Decade Show: Frameworks of Identity in the 1980s, New Museum of Contemporary Art, ISBN 9780915557684
  • 1994: Black Male: Representations of Masculinity in Contemporary American Art, ABRAMS, ISBN 9780810968165
  • 1998: Bob Thompson (Ahmanson-Murphy Fine Arts Book), University of California Press, ISBN 9780520212596
  • 1998: Glenn Ligon: Un/Becoming, University of Pennsylvania, Institute of Contemporary Art, ISBN 9780884540861
  • 1999: Carrie Mae Weems: Recent Work, 1992-1998, George Braziller, ISBN 9780807614440
  • 2001: Freestyle: The Studio Museum In Harlem, Studio Museum in Harlem, ISBN 9780942949216
  • 2002: Lorna Simpson (Contemporary Artists), Phaidon Press, ISBN 9780714840383

References

  1. ^ a b c d e f g h Smith, Jennifer (July 17, 2015). "Thelma Golden: Steering the Studio Museum Ahead". The Wall Street Journal. ISSN 0099-9660. Retrieved June 9, 2018.
  2. ^ Biography: Thelma Golden, Frieze Foundation Archived August 1, 2012, at archive.today, USA.
  3. ^ Taylor, Paul C. "Post-Black, Old Black." African American Review 41.4 (2007): 625-640.
  4. ^ "Thelma Golden". ArtReview. August 12, 2020. Retrieved August 12, 2023.
  5. ^ a b Parker, Ian (January 14, 2002). "Golden touch". The New Yorker. Retrieved March 9, 2017.
  6. ^ a b Pogrebin, Robin (July 6, 2015). "Studio Museum in Harlem Unveils Design for Expansion". The New York Times. Retrieved July 6, 2015.
  7. ^ a b c d Pogrebin, Robin (September 26, 2017). "The Studio Museum Has a Vision for Its Home. And a Power Player at the Helm". The New York Times. Retrieved August 28, 2018.
  8. ^ a b c "President Obama Announces Members of the Committee for the Preservation of the White House". whitehouse.gov. February 3, 2010. Retrieved August 28, 2018.
  9. ^ "Questionnaire: Thelma Golden". Frieze. September 30, 2014. Retrieved March 6, 2020.
  10. ^ a b Anderson, Susan Heller (May 8, 1991). "Chronicle". The New York Times. Retrieved June 12, 2018.
  11. ^ Zimmer, William (April 7, 1996). "How a Curator Temporarily Turns Into a Judge". The New York Times. Retrieved August 12, 2023.
  12. ^ a b c Richardson, Lynda (December 12, 1994). "Black Images Stir Up Strong Emotions". The New York Times. Retrieved August 12, 2023.
  13. ^ Haithman, Diane (April 23, 1995). "As Defiant as Always : Thelma Golden, curator of the L.A.-bound 'Black Male,' has been caught in a firestorm of criticism and protest. It's OK; she can stand the heat". The Los Angeles Times. Retrieved August 13, 2023.
  14. ^ Richardson, Lynda (May 1, 2001). "The art of plunging in without fear". The New York Times. Retrieved July 6, 2015.
  15. ^ a b Nochlin, Linda (February 6, 2017). "From the Archives: Linda Nochlin on Black Male". ArtNews. Retrieved August 12, 2023.
  16. ^ a b c d e Cotter, Holland (February 28, 2000). "Shaking Up a Harlem Museum; New Leaders Want New Definitions and Goals". The New York Times. Retrieved August 12, 2023.
  17. ^ "Looking Back at Black Male". Whitney Museum of American Art. January 20, 2015. Retrieved August 12, 2023.
  18. ^ a b Vogel, Carol (November 6, 1998). "Inside Art". The New York Times. ISSN 0362-4331. Retrieved June 8, 2018.
  19. ^ Lubow, Arthur (April 11, 1999). "The Curse of the Whitney". The New York Times. Retrieved August 12, 2023.
  20. ^ "Chris Ofili Afromuses 1995-2005 @ The Studio Museum in Harlem - Lux Lotus". www.luxlotus.com. Retrieved June 9, 2018.
  21. ^ "Thelma Golden Knows That Showing Great Art Means Nurturing New Artists". Bloomberg.com. March 19, 2018. Retrieved June 15, 2018.
  22. ^ a b Catton, Pia (March 7, 2011). "Headed Uptown for a Harlem Renaissance". The Wall Street Journal. Retrieved August 13, 2023.
  23. ^ DeRuy, Emily (August 4, 2015). "Four Ways Thelma Golden Might Make Obama's Presidential Library Different". The Atlantic. Retrieved March 17, 2018.
  24. ^ "Thelma Golden | The Studio Museum in Harlem". www.studiomuseum.org. September 25, 2017. Retrieved March 17, 2018.
  25. ^ "How art gives shape to cultural change". ted.com. April 16, 2010. Retrieved March 7, 2015.
  26. ^ Cotter, Holland (March 7, 2008). "Whitney Biennial 2008- Art- Review". The New York Times. ISSN 0362-4331. Retrieved June 9, 2018.
  27. ^ "Thelma Goldman Joins NYC Cultural Affairs Committee -artnet News". artnet News. October 27, 2015. Retrieved March 9, 2017.
  28. ^ Ng, David. "LACMA adds three trustees, strengthens entertainment industry ties". Los Angeles Times. Retrieved March 17, 2018.
  29. ^ a b "Thelma Golden Knows That Showing Great Art Means Nurturing New Artists". Bloomberg. March 19, 2018. Retrieved September 1, 2018.
  30. ^ Siegal, Nina (2017). "Thelma Golden" Modern Painter. EBSCOhost. p. 42.
  31. ^ "Thelma Golden | The Studio Museum in Harlem". www.studiomuseum.org. September 25, 2017. Retrieved September 1, 2018.
  32. ^ a b Indvik, Lauren (June 24, 2016). "The Anti-Power Couple: Duro Olowu and Thelma Golden". The New York Times. Retrieved March 17, 2018.
  33. ^ Expected Attendees at Tonight’s State Dinner Office of the First Lady of the United States, press release of 11 February 2014.
  34. ^ Admin, Website (July 27, 2015). "CCNY's 163rd Commencement Set For May 28; President Gregory Williams To Address Graduates | The City College of New York". www.ccny.cuny.edu. Retrieved September 1, 2018.
  35. ^ "Stellar Performances | Barnard College". barnard.edu. Retrieved September 1, 2018.
  36. ^ "The 100 Most Powerful Women In Art: Part II". Artnet. October 19, 2014. Retrieved April 8, 2020.
  37. ^ "25 Art World Women at the Top, From Sheikha Al-Mayassa to Yoko Ono". Artnet. April 17, 2014. Retrieved April 18, 2014.
  38. ^ Neuendorf, Henri (March 2, 2016). "Curator Thelma Golden Wins Audrey Irmas Award for Curatorial Excellence - artnet News". artnet News. Retrieved March 9, 2017.
  39. ^ "Americans for the Arts Announces National Arts Awards Honorees". Americans for the Arts. October 3, 2017. Retrieved September 1, 2018.
  40. ^ "Julie Mehretu in conversation with Thelma Golden". frieze.com. Retrieved April 8, 2020.
  41. ^ "J. Paul Getty Trust Announces J. Paul Getty Medal to Go to Thelma Golden, Agnes Gund and Richard Serra | News from the Getty". Retrieved September 1, 2018.
  42. ^ Xia, Karen (April 5, 2018). "Former DNC executive director to receive honorary degree from Columbia". Columbia Daily Spectator. Retrieved April 8, 2020.
  43. ^ "2019 Power 100". ArtReview. Retrieved April 8, 2020.
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