In the first in a four-part series on social practice art, we speak to Linda Goode Bryant ahead of MoMA's show on her pioneering gallery, JAM.
This is the first interview in a four-part series by Folasade Ologundudu featuring Black artists across generations who work with social practice.The exhibition “Just Above Midtown: Changing Spaces” will debut at the Museum of Modern Art in New York almost half a century after Linda Goode Bryant first opened the doors of the gallery that inspired the show just a few blocks away, on West 57th Street.
Over the past decade, several institutions have asked Bryant to stage an exhibition about JAM, but she always replied that she didn’t do “dead art shows.” She resisted the notion of a historical show that placed living artists who’ve continued to create new work in conversation with a project that existed decades before. But the significance of doing a show at MoMA—which, although nearby, might as well have been miles away from JAM when it was operating—proved compelling.
The opportunity came up within the past five years to do a show at MoMA. Initially, I was reticent but I kept thinking about those years on 57th Street where we were literally four blocks away and how difficult it was to be on 57th Street because the majority of the galleries were really hostile to the idea that JAM even existed at all. On top of that, there was a museum just a few blocks away that also was not receptive. There was no way to cultivate the interest of folks from the museum.
The situation was different. You weren’t hemmed in by, “If I do this, it’s likely I’m going to screw myself in terms of being able to have my work seen,” because they weren’t showing our work. Many of us were part of the Black Power Movement as activists as well as artists and we had nothing to lose. To be clear, JAM operated on debt—on my credit card debt—and I was a single mom with two kids.
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