IN THE PAST few years, cultural institutions have been trying to create a more inclusive narrative of contemporary art history, one that contains more women and people of colour — people who were denied successful careers a half-century ago simply because they weren’t white men. Today, it’s not uncommon to see black artists with solo shows at museums and galleries that just five years ago might have ignored them entirely.
Despite this correction, black-owned commercial galleries remain rarities in America. For a brief period in the 1960s and ’70s, however, there was an alternative art world — first in Los Angeles, then in New York — that offered a view of contemporary art that was vibrant and welcoming. Five decades later, it’s even more influential than it was then.
この記事は T Singapore: The New York Times Style Magazine の July 2020 版に掲載されています。
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この記事は T Singapore: The New York Times Style Magazine の July 2020 版に掲載されています。
7 日間の Magzter GOLD 無料トライアルを開始して、何千もの厳選されたプレミアム ストーリー、9,000 以上の雑誌や新聞にアクセスしてください。
すでに購読者です? サインイン
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