A daughter of the poets Hettie Jones and Amiri Baraka, Kellie Jones grew up immersed in a world of artists, musicians, and writers in Manhattan's East Village and absorbed in black nationalist ideas about art, politics, and social justice across the river in Newark. The activist vision of art and culture that she learned in those two communities, and especially from her family, has shaped her life and work as an art critic and curator. Featuring selections of her writings from the past twenty years, EyeMinded reveals Jones's role in bringing attention to the work of African American, African, Latin American, and women artists who have challenged established art practices. Interviews that she conducted with the painter Howardena Pindell, the installation and performance artist David Hammons, and the Cuban sculptor Kcho appear along with pieces on the photographers Dawoud Bey, Lorna Simpson, and Pat Ward Williams; the sculptor Martin Puryear; the assemblage artist Betye Saar; and the painters Jean-Michel Basquiat, Norman Lewis, and Al Loving. Reflecting Jones's curatorial sensibility, this collection is structured as a dialogue between her writings and works by her parents, her sister Lisa Jones, and her husband Guthrie P. Ramsey Jr. EyeMinded offers a glimpse into the family conversation that has shaped and sustained Jones, insight into the development of her critical and curatorial vision, and a survey of some of the most important figures in contemporary art.
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For my parents
Hettie Jones and Amiri Baraka The îrst writers I ever met
CO NTENTS
Acknowledgmentsix
Introduction “Art in the Family”1
PA R T O N E O N D I A S P O R A
1.EyeMinded37 COMMENTARYBARAK AAMI RI
2.Preface to a Twenty Volume Suicide Note41 BARAK AAMI RI
3.A.K.A. Saartjie: The Hottentot Venus in Context (Some Recollections and a Dialogue) 1998/200443
4.Tracey Rose: Postapartheid Playground69
5.(Un)Seen and Overheard: Pictures by Lorna Simpson81
6.Life’s Little Necessities: Installations by Women in the 1990s125
7.Interview with Kcho135
8.The Structure of Myth and the Potency of Magic145
PA R T T W O I N V I S I O N I N G
9.Seeing Through159 COMMENTARYHE T T I E J ONE S
10.In the Eye of the Beholder163 HE T T I E J ONE S
11.To/From Los Angeles with Betye Saar165
12.Crown Jewels177
13.Dawoud Bey: Portraits in the Theater of Desire187
14.Pat Ward Williams: Photography and Social/Personal History207
15.Interview with Howardena Pindell215
16.Eye-Minded: Martin Puryear235
17.Large As Life: Contemporary Photography241
18.Interview with David Hammons247
PA R T T H R E E M A K I N G M U LT I C U LT U R A L I S M
19.Excuse Me While I Kiss the Sky & Then Fly and Touch Down263 COMMENTARYJ ONE SLI SA
20.How I Invented Multiculturalism273 J ONE SLI SA
21.Lost in Translation: Jean-Michel in the (Re)Mix277
22.In the Thick of It: David Hammons and Hair Culture in the 1970s297
23.Domestic Prayer305
24.Critical Curators: Interview with Kellie Jones309 POLI E STE R
25.Poets of a New Style of Speak: Cuban Artists o This Generation317
26.In Their Own Image329
27.Tim Rollins and K.O.S.: What’s Wrong with This Picture?341
28.Blues to the Future343
PA R T F O U R A B S T R A C T T R U T H S
29.Them There Eyes: On Connections and the Visual349 COMMENTARYP. RAMSE Y J GUT HRI E R .
30.Free Jazz and the Price of Black Musical Abstraction353 P. RAMSE GUT HRI E R .Y J
31.To the Max: Energy and Experimentation363
32.It’s Not Enough to Say “Black is Beautiful”: Abstraction at the Whitney 1969–1974397
33.Black West: Thoughts on Art in Los Angeles427
34.Brothers and Sisters459
35.Bill T. Jones469
36.Abstract Expressionism: The Missing Link473
37.Norman Lewis: The Black Paintings483
AC KNO WLE D G MENTS
There are twenty-îve years of people and places to thank here. The cultural institutions that have supported my work and employed me over this time: The Studio Museum in Harlem, the Jamaica Arts Center, and the Walker Art Center. In my scholarly life, the gifted faculties and departments o his-tory of art and African American studies, as well as the Griswold Fund at Yale University; the department of art history and archaeology and the Insti-tute for Research in African American Studies at Columbia University. The generous sponsorship of the Alphonse Fletcher Sr. Fellowship at Harvard University; the David C. Driskell Prize in African American Art and Art History, High Museum of Art, Atlanta; and the Peter Norton Family Foun-dation. All are greatly appreciated. There would be no book without many, many wonderful artists I’ve had a chance to work with over the years whose art you will înd in these pages. I have much gratitude for all the fantastic students who keep ask-ing questions. Many colleagues in the academy, the museum, and other parts of the art world have supported me along the way, including: Rasheed Araeen, David A. Bailey, Emma Bedford, Camille Billops, Rashida Bum-bray, David Cabrera, Luis Camnitzer, Hazel Carby, Lisa Gail Collins, Margo Crawford, Olivier DeBroise, Okwui Enwezor, Tom Finkelpearl, Jean Fisher, Coco Fusco, Paul Gilroy, Thelma Golden, Alexander Gray, Farah Jasmine Griïn, Kathy Halbreich, Deidre Hamlar, Anna Harding, halley k. harris-burg, Salah Hassan, James Hatch, Jurgen Heinriches, Anne Higonnet, Kurt Hollander, Robin D. G. Kelley, Thomas Lawson, Arnold Lehman, Susana