All Linda Goode Bryant needed was 724 square feet to create the change she wanted to see in New York’s art scene. That and a great deal of audacity, writes iamelitewaste
All Linda Goode Bryant needed was 724 square feet to create the change she wanted to see in New York’s art scene. That and a great deal of audacity. After borrowing $1,000, the 25-year-old single mother was already working full time as director of education at the Studio Museum when she secured the rental unit where that change would be realized. It was 1974 when Just Above Midtown Gallery opened its doors at 50 West 57th Street, right in the heart of the city’s commercial-art district.
Now, almost 50 years later, one of those institutions that gave JAM the cold shoulder when it opened, MoMA, will unveil the exhibit “” on October 9. For once, this delayed institutional validation isn’t a case of the powers that be undervaluing an artist of color.
Goode Bryant’s gallery was also transient. After being evicted from its 57th Street location in 1978, the gallery moved to Tribeca and finally to Soho in 1985. The MoMA exhibition is separated into chapters by location. The loose chronological structure traces the hundreds of exhibitions, performances, and installations at JAM with archival photos, videos, and other ephemeral material that brings JAM’s collaborative ethos to life.
JAM didn’t just house art — it was, perhaps above all, a work of its own by Goode Bryant. One that made maintaining her job at the Studio Museum impossible. One of the funnier displays in the exhibit includes a selection of the gallery’s many unpaid bills. “JAM was really my artwork — and a big part of that was figuring out how to keep getting services that you aren’t paying for! That’s called the art of relationships,” Goode Bryant says between hearty laughs.
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