Just Above Midtown: Changing Spaces

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Product Details

$45.00  $41.85
Museum of Modern Art
Publish Date
11.9 X 9.5 X 0.7 inches | 1.98 pounds

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About the Author

Kellie Jones studied Writing for Young People in England, Publishing in Scotland and Japanese in Japan. A fan of anime and Asian dramas, the busier Kellie is, the more likely she will embark on an epic 50+ episode series whose subtitles leave no room for multitasking. After bookselling in Australia, Kellie is now a children's book writer, editor and proofreader at large.
Legacy Russell is executive director and chief curator at the Kitchen in New York.
Thomas J. Lax is curator of media and performance at The Museum of Modern Art, New York. They were the inaugural recipient of the Cisneros Research Grant and traveled to Brazil in 2020 to research contemporary Black art.


What set JAM apart, though, wasn't just the gale-force talent that blew through the gallery; it was the way so many of the people connected to it seemed to view art as an exquisitely jagged, intensely personal, inherently social part of life.--Stephen Mooallem "Harper's Bazaar"
The process of creating the exhibition has been one of Goode Bryant constantly pushing the museum to work differently and the museum finding creative ways to support JAM's values and its artists. That desire to transform what is into what could be is intrinsic to her way of working.--Aruna D'Souza "New York Times: Arts"
Bryant understood that the urge to creativity was real; that an indispensable condition for nurture is generosity; and that generosity is a practice of interdependence -- an energy exchange from which all parties profit. MoMA's scrappy, artful document of a show is a salute to that idea, one that honors a past and encourages a when-in-doubt-do-it future.--Holland Cotter "New York Times: Arts"
Remarkable for its ability to capture and redistribute a spirit of rebellion--the ethos that drove Bryant and others to make and give space to art that resisted market and institutional trends.--Ayanna Dozier "Artsy"
Promises to expand our understanding of art history and actually succeeds in doing so.--Alex Greenberger "ARTnews"
Provide[s] a venue for Black artists to show at a level of visibility readily available to their white peers, and allowed them to pursue work in whatever medium and mode suited them.-- "NPR: WNYC"
What resulted from this artist-first mission was some of the most notable avant-garde art of the 20th century.--Nina Raemont "Smithsonian"
JAM was a feeling of possibility more than it was a destination and an incentive to experiment more than a platform to sell work. It was an artistic community where process trumped product and mutual aid replaced capital with a barter system of creative exchange and healthy debate.--Cassidy George "New York Magazine: The Cut"
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.--Folasade Ologundudu "Artnet"
A well-researched resource on the institution that reprints all the archival materials, and includes quotes from curators, artists, and historians.--Megan Liberty "Brooklyn Rail"
The book captures the JAM vibe, and its lead essay by Thomas (T.) Jean Lax, one of the MoMA show's curators, that gets my vote as best of the year.--Holland Cotter "New York Times: Arts"
The gallery ethos recognised its divergence from the art industry, embraced collectivism and improvisation, and, of course, provided the space and time needed to create something sweet and delicious.--Anisa Tavangar "Art Newspaper"
In the catalogue, there are wonderful photographs of Black powerhouses like Stevie Wonder and Roberta Flack (who funded a show at jam) stopping by the gallery to commune with the work.--Hilton Als "New Yorker"
Bryant stuck to her guns, convinced New York artists could use a look at work that pushed beyond Western abstraction and expanded notions of what could be considered art materials.--Stephanie Eckardt "W Magazine"