Mallica reynolds biography of martin luther king
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Collection
The Studio Museum in Harlem’s permanent collection represents more than 700 artists, spans 200 years of history, and includes nearly 9,000 works of art. We are thrilled to be in the early stages of a long-term project to share our collection online and prompt a new era of exploration and presentation.
The Studio Museum in Harlem’s permanent collection is a record of the growth of the institution and its activities, and includes nearly 9,000 works of art, including paintings, drawings, sculptures, watercolors, photographs, videos and mixed-media installations.
The web-based thematic series Collection in Context provides fresh perspectives on artworks in the Studio Museum’s permanent collection. Members of the Museum’s curatorial department draw out themes found within a diverse range of works, providing new ways of looking at Black artistic production since the early nineteenth century.
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Windrush History Makers The Geneticist Dynasty
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We are deeply saddened to hear about the passing of Stuart Hall. Our Chief Curator, Charles Campbell, has penned the following tribute:
“Jamaican born sociologist and cultural theorist Stuart Hall died today at the age of 82. A leading intellectual and one of the founders of Cultural Studies in Britain, Hall was part of the so called Windrush generation that moved from Jamaica to England after the Second World War.
Hall is one of the most influential thinkers of his generation. The impact of his work has been felt across academic disciplines and filtered into popular discourse through both his writing and regular appearances on British television and radio. Known for his work on race, gender, identity and sexuality he also made significant contributions to the examination of the visual arts with specific regard for the work of Black British and Caribbean artists.
Hall presented a nuanced understanding of culture as something constantly in formation, always changing and never static. While pushing against essentializing black subjectivity he never shied away from acknowledging how race and ethnicity often set the context in which an artwork was viewed and determined its readings. He was also an advocated of a strong critical discourse, one that looked both at the c