By Holland Cotter
In 2001 the Studio Museum in Harlem opened a group exhibition called “Freestyle,” the first in a series of freshly minted African-American talent. And in the catalog for that show the curator, Thelma Golden, dropped a neat little cultural bomb. She referred to the group of artists she’d chosen, most of them then in their 20s, as “post-black.” Heads spun, and are still spinning. Even some young artists to whom it was applied weren’t quite clear about what to do with it. Overnight the dynamics of contemporary art changed.
More than a decade later it still is, to judge by the fourth and latest of the museum’s new-generation shows, this one titled Fore, organized by three young staff curators, Lauren Haynes, Naima J. Keith and Thomas J. Lax. Like its predecessors it keeps racial politics alive but discreet and covers the waterfront in terms of mediums, which it samples and mixes with turntablist flair. More>>
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