CAA News Today

We are delighted to welcome Dr. Kellie Jones, professor in Art History and Archaeology and the Institute for Research in African American Studies (IRAAS) at Columbia University, as the Distinguished Scholar for the 108th CAA Annual Conference in Chicago, February 12-15, 2020.

Dr. Jones, whose research interests include African American and African Diaspora artists, Latinx and Latin American Artists, and issues in contemporary art and museum theory, is the recipient of awards from the Hutchins Center for African and African American Research, Harvard University, Creative Capital, and Warhol Foundation, among others. In 2016, she was named a MacArthur Foundation Fellow.

CAA media and content manager Joelle Te Paske spoke with Dr. Jones earlier this fall to learn about what she’s working on and looking forward to in upcoming exhibitions and scholarship. Read the interview below.

This interview has been edited for length and clarity.

Dr. Kellie Jones. Photo: Rod McGaha

Hi, Professor Jones. Thank you for taking the time for this interview. It’s an honor to speak with you and we’re excited that you’ll be with us in Chicago.

I’m looking forward to it.

Great. So to begin—to locate ourselves in time and place—how are you? How was your summer?

It’s always fun, and it always ends too quickly. I think that’s just normal. [Laughs]

Yes, I guess that’s where we should be at this point [laughs]. Were you working on a particular project this summer?

Yes. I was working on a project for Center for Advanced Study in the Visual Arts (CASVA). Huey Copeland of Northwestern University and Steven Nelson of UCLA are spearheading a Black Modernisms seminar with a group of scholars. I just finished an essay on the Harlem Renaissance that is still to be titled. I haven’t written extensively on that period so I’m really looking forward to hearing back from them. It involves race and gender and I’m very excited about it.

What else is exciting in your work right now?

Candida Alvarez: Here, A Visual Reader (Green Lantern Press 2019), the first major monograph on the Chicago-based painter, is about to hit shops. I’m excited by this project to which I contributed the essay, “When Painting Stepped Out to Lunch.” I have book that I’m finishing on global conceptual art networks that is tentatively titled Art is an Excuse, on how conceptual art allowed for different types of global connections. One great example is Senga Nengudi and her relationship to Japan which is something I’ve written about earlier but I wanted to more forthrightly connect to Japanese conceptualism. So how does Senga Nengudi fit into that dialogue, or what is her dialogue? I’m thinking about conceptual art as a motor for global art connection, different from what people call globalization—more like artist dialogues, not neoliberal globalization.

A macro view.

The book is more about relationships. We always think about artists in their particular nationalist space. What did Japanese conceptualism look like? What did Latin American conceptualism look like? How were they different? But we really don’t talk about the kind of dialogue that people have with each other. That’s really the whole premise of the project.

That’s terrific. I read that for undergrad at Amherst College you made an interdisciplinary major. I was going to ask: Has an interdisciplinary outlook been formative in your career? But I feel you’re already embodying that.

You’re absolutely right. I created an interdisciplinary major at Amherst. Shout out to my alma mater and to liberal arts education.

We love that at CAA, yes.

And we love it because it allows people to see the breadth of the world in some fashion and then choose something or choose a few things. I’m one of the people that thought about Latin American and African American and Latinx artists at least from my college years, and I’ve been going with that for the longest, along with ideas of the African diaspora. You might start out with “Let’s compare”—the comparative structure; the binary is such a signature of art history. But then you realize that it’s so much more than a just a binary—the interdisciplinarity, the multidisciplinarity. That’s always been a part of what I’ve looked at because at that time—and I know I’ve said it on numerous occasions in numerous platforms—art history was really taught one way. Because I had grown up in New York I said, “But wait a minute, they’re leaving out all of these people that are making art that I know!” That I see every week. I mean, how is that possible? So I started there and just kept going.

I also read that you wanted to be a diplomat originally, and that makes sense to me. I think art historians are often part-diplomats, part-detectives, part-scientists. There’s so much that goes into the field.

Absolutely. I wanted to get away from art. I grew up with artists and poets and I said, “Oh my god, these people are broke. I can’t do that.”

Well, that’s realistic—I suppose it’s changed, too.

It’s absolutely changed, but if you’re thinking about late 1970s—wow. People weren’t even thinking about objects too much.

Someone reminded me much later—maybe a couple of years ago—they said, “Well you know, you’ve been doing [diplomacy] with art. You’ve been a cultural ambassador with this work, because you’ve done shows around the world.” Art history became, “Wow, you can do the same things.” You can study languages. You can travel. It did become a way you could do all those things, and then of course as you just mentioned, as a curator you are a diplomatic entity between artists and the institution.

As a liaison, definitely. It’s sensitive.

Right. Even as an academic, if you’re traveling around or if you’re representing a contemporary artist in your writing—how do you balance how the artist sees themselves with what you have to say? There’s always that.

I’m curious what you see as emerging trends in scholarship, especially in art history. 

I think students and academics—particularly a new generation—don’t want traditional art history as we have known it. They want a more interdisciplinary, multidisciplinary, global understanding of art in the world. Art history is not just Europe, and it’s not just the United States. And the art of the United States meaning not just New York!

I think the other really exciting arena is, of course, gender. Gender studies. Queer studies in art history. Trans studies. All those things really change how we understand the object, how we understand history, the histories that we look for. There’s a similarity to the discoveries that I made when I was a student in college about how art history at that time did not represent even the histories of African Americans who were in New York, for instance. United States art history is written from a New York-centric perspective. And at that time, you didn’t see too many women in it. You didn’t see too many African Americans or Latinx figures. So now that such subjects are more widely known the next step seems to be to ask,”What is a queer art history?” And some people have been doing this for a while: Jonathan Weinberg, James Smalls, Julia Bryan-Wilson has brought us into the present with some of these ideas, and C. Ondine Chavoya with his Axis Mundo, project. So all these ideas are becoming more visible and I think it’s really exciting.

That’s one of the reasons why I’ve been so keen on my Harlem Renaissance article. It started out in one way, and then it took me in another direction; it takes another look at objects that have been dismissed as not being relevant, and sees them  through a different lens. It opens up other paths into these works that have been discarded. Or maybe not discarded, but put to the side. Let’s ask, “What’s going on with gender in these works?” What’s going on with queerness, and how do they signify to a Harlem Renaissance that is quite queer? It’s something people in literature have discovered, certainly in the African American context, and they’ve been talking about that for years. Art history has to catch up.

Yes, you feel a real energy in the field, a real hunger for it. With recent protests around Warren Kanders at the Whitney Museum, what are your views on that momentum? [Editor’s note: Since this conversation took place, Warren Kanders announced his resignation from the Whitney Museum board.]

Well, you know, there have always been protests at US museums as well as those around the world. So whether you are a curator or a director who bares the brunt of the protest, or you are an artist who withdraws, you’re part of history. Scholars down the road are going to say, “These people pulled out. These people wrote a letter. These were the curators. These were the board members.” So for me it’s just part of history, and it has ebbs and flows. There are a lot of things going on in this world that artists are addressing, that artists see. They do respond to the world in one way or another. You may not see it visibly, but it’s there.

I agree. I think putting new ideas in the world the way artists do is cultural change, and like you said—it’s interconnected. You can’t really have one without the other.

Yes. It’s part of a larger history.

When did you first join CAA? Do you have a favorite memory from a conference?

I had joined CAA by 1990, when I served as the co-chair of the programming at the Annual Meeting for the Studio or Artists’ sessions with Robert Storr. I’ve been on plenty of panels since then, but to be honored in this way is humbling and exciting. Even better, all of the respondents I asked to participate on the Distinguished Scholar panel said, “Yes! I’ll be a part of it.” So I’m thrilled about that. I’ve been at Columbia University about 13 years, and I remember when Rosalind Krauss was honored, and I participated in Richard J. Powell’s Distinguished Scholar panel. So to step into those shoes, it seems a bit surreal.

Thinking of Chicago in 2020—do you have a favorite art-related excursion there?

Well, the South Side Community Art Center is legendary. It’s one of the original community art centers from the New Deal era, and it’s still in existence. I would definitely say go to that. That’s my favorite.

I’m marking it down for myself. Are there exhibitions coming up this fall that you recommend?

Senga Nengudi at Lenbachhaus in Munich; Robert Colescott at the Contemporary Art Center in Cincinnati curated by Lowery Sims and Matthew Weseley; Lynette Yiadom-Boakye at Yale Center for British Art curated by Hilton Als; Hank Willis Thomas: All Things Being Equal…, his first major survey at the Portland Art Museum. Curator Meg Onli at ICA Philadelphia has done a trio of shows under the title Colored People Time. The final component Banal Presents will be on view through December 22, 2019.

Shows that are further out that I’m excited about are Prospect 5 in New Orleans (Fall 2020), curated by Naima Keith and Diana Nawi. The citywide triennial in New Orleans is just a great experience. Everyone should check it out. Thomas Lax’s exhibition on Just Above Midtown gallery, that generative space of 1970s and 1980s, and its founder Linda Goode Bryant, will be wonderful to see at MoMA in 2022.

There are so many great young curators out here. Rujeko Hockley, Erin Christovale, numerous others. Tiona Nekkia McClodden is an artist who’s been doing some great archival curatorial work. She had a show that was in response to the anniversary of Mapplethorpe’s The Perfect Moment that just closed. There are just so many great people out here doing some wonderful things, and a lot of wonderful younger artists. I’m excited by it. We started out by talking about multidisciplinarity, interdisciplinarity—young curators are invested in that idea as much as scholars.

Oh and one thing that I’m really looking forward to down the line is, of course, the reopening of the Studio Museum in Harlem. I cannot wait for that!

Yes! It’s a ways off but that’s an exciting one. Well, thank you Dr. Jones. I appreciate you taking the time, and it’s been a pleasure to speak with you.

Thanks for your questions, and again it’s really an honor to be a part of this whole thing. I still kind of can’t believe it. I guess I will in February when I step off that plane!

The Distinguished Scholar Session honoring Kellie Jones will take place Thursday, February 13, 2020, from 4-5:30 PM at the Hilton Chicago, Grand Ballroom.

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Biography of Dr. Kellie Jones

Dr. Kellie Jones is a Professor in Art History and Archaeology and African American and African Diaspora Studies at Columbia University. Her research interests include African American and African Diaspora artists, Latinx and Latin American Artists, and issues in contemporary art and museum theory.

Dr. Jones, a member of the American Academy of Arts and Sciences, has also received awards for her work from the Hutchins Center for African and African American Research, Harvard University and Creative Capital | Warhol Foundation. In 2016 she was named a MacArthur Foundation Fellow.

Dr. Jones’s writings have appeared in a multitude of exhibition catalogues and journals.  She is the author of two books published by Duke University Press, EyeMinded: Living and Writing Contemporary Art (2011), and South of Pico: African American Artists in Los Angeles in the 1960s and 1970s (2017), which received the Walter & Lillian Lowenfels Criticism Award from the American Book Award in 2018 and was named a Best Art Book of 2017 in The New York Times and a Best Book of 2017 in Artforum.

Dr. Jones has also worked as a curator for over three decades and has numerous major national and international exhibitions to her credit.  Her exhibition “Now Dig This! Art and Black Los Angeles, 1960-1980,” at the Hammer Museum, Los Angeles, was named one of the best exhibitions of 2011 and 2012 by Artforum, and best thematic show nationally by the International Association of Art Critics (AICA). She was co-curator of “Witness: Art and Civil Rights in the 1960s” (Brooklyn Museum), named one the best exhibitions of 2014 by Artforum.