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The Power Couple Making the Art World More Inclusive

BBG News

As an ardent cinephile, let me share a tale from my personal journey. Back in the year of 2005, I, being a budding curatorial assistant at the Studio Museum in Harlem, initiated contact with Hank Willis Thomas via email for the purpose of discussing exhibit details. However, it wasn’t until the magical year of 2013 that our paths crossed in person, thanks to a dear mutual friend who brought us together during a social gathering.

Currently, they are among the most influential power duos in the art sphere, consistently working towards promoting racial fairness. Rujeko Hockley, aged 41, serves as an associate curator at the Whitney Museum of American Art, and Thomas, aged 48, is a renowned artist who created the Martin Luther King Jr. memorial, which was unveiled in Boston in 2023.

Thomas often expresses his passion for rectifying historical inaccuracies through his art, with a significant emphasis on acknowledging and honoring ordinary African Americans who are frequently overlooked. He’s currently developing “The Writing on the Wall,” an exhibition comprised of writings and drawings by inmates, which also draws parallels between modern-day mass incarceration and the history of slavery. This year, he plans to reveal a monument dedicated to the enslaved laborers who constructed Davidson College, and his tribute to victims of gun violence is slated for Detroit. In summarizing the delicate nature of racial relations today, Thomas says, “We’re no longer in the 1950s and ’60s, where we were actively dismantling Jim Crow. Now, our focus is on preventing regression.

As a champion for inclusivity, I firmly believe it’s crucial to make institutions, which historically were not designed with non-white individuals in mind, feel welcoming and inclusive. During my tenure at the Brooklyn Museum, I had the privilege of co-curating an exhibition titled “We Wanted a Revolution: Black Radical Women, 1965–85.” Fast forward to 2021, after I curated Julie Mehretu’s showcase at the Whitney, she graciously joined the museum’s board and collaborated with another trustee to make an upcoming donation in 2024. This generous contribution will make admission free for individuals under 25 years old. As Julie aptly put it, meaningful discussions about diversity, equity, and inclusion cannot occur without ensuring accessibility. I eagerly anticipate a surge of Black museum-goers when SF MOMA’s survey of Amy Sherald’s work opens at the Whitney on April 9. The artist has gained significant recognition for her portrait of First Lady Michelle Obama.

The connection between Hockley and Thomas is evident. Hockley, a key figure in co-curating the 2019 Whitney Biennial, often obtains artist recommendations from her spouse. Additionally, she reviews designs for her exhibitions and offers suggestions. During a virtual conversation, Hockley, speaking from their apartment, discussed her goal of creating shows that facilitate understanding “into the subjective experiences of other human beings.” At this moment, Thomas, in his studio, experienced an “aha” moment. He took out numerous mid-20th century portraits of everyday Black Americans and meticulously removed their faces while Hockley commented, “Black and Brown individuals have a deeper understanding of the subjectivity of white people compared to how white people comprehend our experiences.

Thomas isn’t quite sure what he plans to do with these faces, but Hockley appeared unfazed by the sudden flash of inspiration. “Artists’ minds are always spotting connections,” she explains. Glancing away from the portraits, Thomas wrapped up the interview with a statement that encapsulates both an artist’s journey and society’s progress: “The path to advancement is forever in development.

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2025-02-06 16:06

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