![]() THELMA GOLDEN: I knew of Lowery before I met her. It was an expansion of what I was doing and gave focus to my work.ĭV: Do you remember the moment you and Thelma met? This was a place, like El Museo del Barrio, Basement Workshop in Chinatown, or the American Indian Community House, where I could meet my peers involved in the arts, people who were like myself, people of color. I once described the Studio Museum as my antidote to my experiences at the Met. ![]() So part of my job was to liaise with museums and community organizations around New York City. I was working in the community programs department, which had been established as a vehicle for the Met to deal with the fallout from the “Harlem on My Mind” exhibition and respond to demands that it decentralize its activities. LOWERY STOKES SIMS: When I got my job at Metropolitan Museum of Art in 1972, I started going to Harlem on a regular basis. When did you first encounter the museum? What do you recall from that time? I often think of the Studio Museum’s role in this radiant history, and I’m curious to hear what the museum means to the people who came through it, to those who have led the institution and helped give it new shapes over time. ![]() We frequently draw a connection between the protests of that era and the revival of struggles, both in the streets and within institutions, that has come to define the past few years. Jeff Sonhouse, Inauguration of the Solicitor (detail), 2005.ĭAVID VELASCO: The Studio Museum in Harlem opened its doors to the public in 1968. ![]()
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