Thomas (T.) Jean Lax

  • Justin Vivian Bond and Anthony Roth Costanzo, Only an Octave Apart, 2021. Rehearsal view, St. Ann’s Warehouse, Brooklyn, NY, September 20, 2021. From left: Justin Vivian Bond and Anthony Roth Costanzo. Photo: Teddy Wolff.

    TOP TEN

    Thomas (T.) Jean Lax is curator of media and performance at the Museum of Modern Art, New York, where they recently organized the exhibition “Just Above Midtown: Changing Spaces” with Lilia Rocio Taboada in collaboration with Linda Goode Bryant and Marielle Ingram.

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    JUSTIN VIVIAN BOND AND ANTHONY ROTH COSTANZO, ONLY AN OCTAVE APART (ST. ANN’S WAREHOUSE, BROOKLYN, SEPTEMBER 21–OCTOBER 3, 2021)

    With its open mouths and need for close contact, singing with others has been risky business over the past several years. Which is why the stakes could not have been higher when Bond, the cabaret icon, and

  • Opening of the Studio Museum in Harlem, New York, 1968. From left: Eleanor Holmes Norton, Carter Burden, Charles Inniss, Campbell Wylly, Betty Blayton-Taylor, Frank Donnelly. Photo: Jill Krementz.

    STREET, STOOP, STAGE, SANCTUARY

    AS MUSEUMS AROUND THE WORLD reflect on their role in the reproduction of structures of domination, one instructive example is New York’s STUDIO MUSEUM IN HARLEM, a modest but pivotal institution created in 1968 to champion Black culture and center artists of African descent. To help delineate the museum’s history and significance, Artforum organized an intergenerational conversation of Studio Museum leaders and alums—NAOMI BECKWITH, THELMA GOLDEN, THOMAS (T.) JEAN LAX, and LOWERY STOKES SIMS—moderated by DAVID VELASCO, the magazine’s editor in chief.

    BEGINNINGS

    DAVID VELASCO: The Studio Museum in