Black Male: Representations of Masculinity in Contemporary Art

Overview 
By placing the works of diverse artists next to each other, Golden sought to emphasize the ways in which American culture has been profoundly enriched and transformed by the voices of African-American art and culture. These voices  have been unnecessarily silenced, ignored, and constrained by stereotypes.  Art historian Huey Copeland stated that the exhibition was not about offering a mirror or image of black masculinity, but providing a context to comprehend how a black male might be produced visually, and the many ways that one might work through that visual production.

According to Golden, the idea was to create a new model for understanding the complex aesthetics and politics at work in representations of African American men after  the Civil Rights era."Looking Back At Black Male". whitney.org. Retrieved 2022-12-12. In her time as a curator at the Whitney Museum, Golden was struck by institutional attitudes and exhibition making that excluded—or only very narrowly included—the work of black artists. The curator described feeling as if "a new language had to be invented" in order to interrogate the idea of cultural specificity in the museum, especially in relation to blackness. One of the central guiding questions for the exhibition, according to Golden, was "what would happen if I made an exhibition that completely lived in a world of Black—with a big B—art and artists: uncompromised, unapologetic, uninterested in the mainstream art world?" She drew from Lowery Stokes Sims' idea of “curatorial archaeology” --- curatorial representation of artists historically excluded from mainstream art exhibitions --- to establish a precedent for thinking about black artists and their work through a conceptual lens, and offer a path to canon revision.

On December 12, 2014, the Education department at the Whitney Museum presented Looking Back at Black Male, a public program to mark the twentieth anniversary of the exhibition. Golden was in conversation with writer Hilton Als, who edited the exhibition catalogue, and Huey Copeland, art historian and critic, to discuss the exhibition and its impact on the contemporary art scene."Looking Back At Black Male". whitney.org. Retrieved 2022-12-13.

 Works 
The exhibition features work across a variety of mediums, including photography, sculpture, drawing, painting, and video art. Among the works in the exhibition were:

 Fred Wilson’s Guarded View (1991)—four headless, black mannequins dressed in typical museum guard attire. 
 The video art piece Rodney King, Police Beating (1992) by Danny Tisdale, comprising nine still frames from the viral video that captured the police beating of Los Angeles resident, Rodney King Jr., a black man whose abusers were exonerated in a Simi Valley courtroom.
 Some of the Greatest Hits of the New York City Police Department: A Celebration of Meritorious Achievement in Community Service (1994) by Carl Pope, which consisted of a collection of trophies commemorating the homicides of black men in encounters with the New York City police.
 Marlon Riggs' 1989 documentary Tongues Untied.
 Leon Golub's paintings, including Four Black Men (1985).
 Barkley L. Hendricks' portrait painting, Tuff Tony (1978).

 Participating Artists 
Exhibited artists included:

 Robert Arneson 
 Jean-Michel Basquiat 
 Nayland Blake 
 Mel Chin 
 Robert Colescott 
 Renee Cox 
 Dawn Ader DeDeaux 
 Kevin Everson 
 Leon Golub
 David Hammons
 Lyle Ashton Harris
 Barkley L. Hendricks
 Byron Kim
 Jeli Koons
 Glenn Ligon
 Robert Mapplethorpe
 Adrian Piper
 Carl Pope
 Tim Rollins + K.O.S.
 Alison Saar
 Andres Serrano
 Gary Simmons
 Lorna Simpson
 Danny Tisdale
 Christian Walker
 Carrie Mae Weems
 Pat Ward Williams
 Fred Wilson
 X-PRZ

 Reception 
Black Male was met with mixed, predominantly negative reviews.Enwezor, Okwui (June 1995). "The body in question: Whose body? 'Black Male: Representations of Masculinity in Contemporary American Art'". Third Text. 9 (31): 67–70. doi:10.1080/09528829508576545. ISSN 0952-8822."ART : 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". Los Angeles Times. 1995-04-23. Retrieved 2022-12-13. The most direct criticism came from New York Times reviewer Michael Kimmelman, who wrote, "The result? 'Black Male' will almost certainly be remembered for the debates it provokes, which may be considerable and important. The Whitney is proud of the breadth of issues it tackles, and not altogether wrongly so. It's paradoxical, then, that with 'Black Male,' it succumbs to such chic and narrow thinking."

The exhibition went to the Hammer Museum in Los Angeles after its opening show at the Whitney. The exhibition at the Hammer Museum included a comment book in which visitors could express their responses to the show. Five spiral-bound notebooks were filled during the run of the exhibition.Bruce Thompson, May 28, 1995, Black Male: Representations of Masculinity in Contemporary American Art, Box 3, Armand Hammer Museum of Art and Cultural Center. Exhibition files (University Archives Record Series 776). UCLA Library Special Collections, University Archives. The responses in the comment book illustrate a wide range of responses to the show, among them:"Where are We Now? Revisiting Black Male | Hammer Museum". hammer.ucla.edu. Retrieved 2022-12-13.

 References 

Category:Art exhibitions
Category:1994 in New York (state)
Category:African-American culture