JAM: The Process as Art, 1974 to the Present Published by The Museum of Modern Art, New York/The Studio Museum in Harlem.
Edited with text by Thomas J. Lax, Lilia Rocio Taboada. Text by Eric Booker, Brandon Eng, Kellie Jones, Yelena Keller, Marielle Ingram, Legacy Russell. Interview with Linda Goode Bryant by Thelma Golden. An archival dive with fresh interpretations of the legendary New York gallery and cultural laboratory that catalyzed collaboration among Black artists and their counterparts of diverse backgrounds Just Above Midtown, or JAM, was an art gallery and self-described laboratory for experimentation led by Linda Goode Bryant that foregrounded African American artists and artists of color. Open from 1974 to 1986, it was a place where an expansive idea of contemporary art flourished and debate was cultivated. The gallery offered early opportunities for artists recognized as pivotal figures in late-20th-century art—including David Hammons, Butch Morris, Senga Nengudi, Lorraine O’Grady and Howardena Pindell—as well as a nonhierarchical approach to art that welcomed artists without stylistic proscription.
Published in conjunction with the first museum exhibition to focus on this visionary gallery and its ongoing impact, JAM: The Process as Art, 1974 to the Present showcases rarely seen material from JAM’s history—artworks, ephemera and photographs—that collectively document the gallery’s communal and programmatic activities. This richly illustrated catalog includes essays that contextualize JAM and consider its legacy, a conversation between Goode Bryant and Thelma Golden, Director and Chief Curator of the Studio Museum in Harlem, a complete exhibition chronology written by MoMA and Studio Museum staff with nearly 50 annotated entries, and excerpts from oral histories with JAM staff and artists conducted especially for this project.
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