In 1927, the Chicago Art Institute presented the first major museum exhibition of art by African Americans. Designed to demonstrate the artists' abilities and to promote racial equality, the exhibition also revealed the art world's anxieties about the participation of African Americans in the exclusive venue of art museums—places where blacks had historically been barred from visiting let alone exhibiting. Since then, America's major art museums have served as crucial locations for African Americans to protest against their exclusion and attest to their contributions in the visual arts.

In Exhibiting Blackness, art historian Bridget R. Cooks analyzes the curatorial strategies, challenges, and critical receptions of the most significant museum exhibitions of African American art. Tracing two dominant methodologies used to exhibit art by African Americans—an ethnographic approach that focuses more on artists than their art, and a recovery narrative aimed at correcting past omissions—Cooks exposes the issues involved in exhibiting cultural difference that continue to challenge art history, historiography, and American museum exhibition practices. By further examining the unequal and often contested relationship between African American artists, curators, and visitors, she provides insight into the complex role of art museums and their accountability to the cultures they represent.

#exstrange: a curatorial intervention on eBay presents the #exstrange exhibition project, which transformed one of the largest marketplaces on the web — eBay — into a site of artistic production. This book documents artworks, reveals the aftermath of auctions and correspondences between artists and bidders, and features essays by lead curators Marialaura Ghidini and Rebekah Modrak, cultural critic Mark Dery, journalist Rob Walker, media and material culture scholar Padma Chirumamilla, guest curator Gaia Tedone, and artist and writer Renee Carmichael.
 
Over 80 contemporary artists and designers created “artworks as auctions” for #exstrange between January 15 and April 15, 2017, each using the elements of the auction listing—descriptive text, images, pricing, and categories—as tools of production.
 
Works include artist Lucy Pawlak’s collaboration with the Beat Officer to sell a series of clay objects as missing evidence from unexplained events in Mexico; IOCOSE’s sale of instant protests in the category “Specialty Services” where buyers chose the protest mantras, and outsourced performers demonstrated; and Susanne Cockrell & Ted Purves’ offering of a stick-gun with the memory of their son’s play in “Entertainment Memorabilia.”
 
Featured artists:
10.000 • Lanfranco Aceti • AILADI • Aysha Al Moayyed • Nasser Alzayani • Mary Ayling • Georgia Banks • Ann Bartges • Yogesh Barve • Kim Beck • Ajit Bhadoriya • Natalie Boterman • Sophia Brueckner • Carmel Buckley • Renee Carmichael • Alessio Chierico • Mia Cinelli • Susanne Cockrell • ConnX • Da Burn Gallery • Julia del Río • Tyler Denmead • César Escudero • Nihaal Faizal • FICTILIS • Eryn Foster • John D. Freyer • Elisa Giardina Papa • Angela Glanzmann • Maximilian Goldfarb • Archana Hande • Abhishek Hazra • Adam Hewins • Megan Hildebrandt • Joey Holder • Masimba Hwati • Regin Igloria • IOCOSE • JODI • Geraldine Juárez • KairUs Art+Research • Katerina Kamprani • Kamilia Kard • Tara Kelton • Matt Kenyon • Stephanie LaFreniere • Eno Laget • Nicolás Lamas • Martin Lang • Taekyeom Lee • LEXX Exhibitor Space • Lloyd Corporation • Silvio Lorusso • Breda Lynch • Garrett Lynch • Eva and Franco Mattes • Kembrew McLeod • Kathleen Meaney • Maria Miranda • Crisia Miroiu • Joana Moll • Martín Nadal • Norie Neumark • Xi Jie Ng • Maeve O'Neill • Chiara Passa • Lucy Pawlak • Sreshta Rit Premnath • Niko Princen • Ted Purves • Renuka Rajiv • Luis Romero • Armando Rosales • Robert Sakrowski • Alessandro Sambini • Sarah Ancelle Schönfeld • Anke Schüttler • Guido Segni • Chinar Shah • Jenine Sharabi • Yastika Prakash Shetty • Anupam Singh • Gagan Singh • Ishan Srivstava • Isabella Streffen • Surabhi Vaya • Wang Yue • Wu Jiaru • Yashaswini • Laura Yuile • Carlo Zanni • Huaqian Zhang
 
Guest curators:
Latifa Al Khalifa • Bani Brusadin • Peter Dykhuis • Fred Feinberg & Lu Zhang • Harrell Fletcher • Tamara Ibarra • João Laia • Nora O Murchú • Domenico Quaranta • Gaia Tedone • TSAO Yidi
 

An indigenous reservation in the colony of Victoria, Australia, the Coranderrk Aboriginal Station was a major site of cross-cultural contact the mid-nineteenth century and early twentieth. Coranderrk was located just outside Melbourne, and from its opening in the 1860s the colonial government commissioned many photographs of its Aboriginal residents. The photographs taken at Coranderrk Station circulated across the western world; they were mounted in exhibition displays and classified among other ethnographic “data” within museum collections. The immense Coranderrk photographic archive is the subject of this detailed, richly illustrated examination of the role of visual imagery in the colonial project. Offering close readings of the photographs in the context of Australian history and nineteenth- and early-twentieth-century photographic practice, Jane Lydon reveals how western society came to understand Aboriginal people through these images. At the same time, she demonstrates that the photos were not solely a tool of colonial exploitation. The residents of Coranderrk had a sophisticated understanding of how they were portrayed, and they became adept at manipulating their representations.

Lydon shows how the photographic portrayals of the Aboriginal residents of Coranderrk changed over time, reflecting various ideas of the colonial mission—from humanitarianism to control to assimilation. In the early twentieth century, the images were used on stereotypical postcards circulated among the white population, showing what appeared to be compliant, transformed Aboriginal subjects. The station closed in 1924 and disappeared from public view until it was rediscovered by scholars years later. Aboriginal Australians purchased the station in 1998, and, as Lydon describes, today they are using the Coranderrk photographic archive in new ways, to identify family members and tell stories of their own.