Tyree Boyd-Pates 8/31/25 Tyree Boyd-Pates 8/31/25

Curating for Black Audiences: NOMMO’s Chief Curator Featured in Getty’s Balthazar Publication

There’s a special pride in walking into a library, heading to the art section, and seeing a book you authored on the shelf. For NOMMO’s chief curator, Tyree Boyd-Pates, that moment happened on the second floor of the Los Angeles Public Library when he picked up Balthazar: A Black African King in Medieval and Renaissance Art (Getty Publications, 2023) to read his essay and contributions.

Featuring historians like Henry Louis Gates, Andrea Achi, Kristin Collins, and Bryan Keene, this book is more than just a publication; it is a tangible result of the museum’s consultation work for the 2019 Getty Museum exhibition of the same name. His contributions included fact-checking the historicity and contemporary cultural relevance, shaping the narrative, narrating the exhibition’s audio tour, and being featured in the museum's blog.

*The Adoration of the Magi*, from a book of hours (text in Latin), Provence, France, about 1480–90, Georges Trubert. The J. Paul Getty Museum

Holding this book in a local library represents more than authorship; it embodies the effort to provide accessible, accurate, and reframed historical narratives for the public, especially Black audiences.

Los Angeles Central Library, August 2025

In his essay in the book’s afterword, "Curating Black History with Black Audiences in Mind," our chief curator emphasizes the importance of centering Black viewers in museums and exhibitions. Too often, Black audiences encounter narratives that do not align with their understanding of their own political history and education, excluding them from their own historical narrative.

Exhibitions like Balthazar are essential in reclaiming space and elevating Black audiences from the margins to the center of their own narratives, affirming their role in global art history. Balthazar also ties into broader cultural moments, such as 2022’s Beyoncé Knowles-Carter’s Renaissance album and world tour, which celebrate Black contributions during the same period. Similar to Beyoncé’s album and world tour, the exhibition, book, and essay above highlight the notable absence of Black figures during the medieval and Renaissance eras, repositioning and reclaiming them to be the heart of cultural rebirths and artistic renaissances periods.

*Beyonce’s Renaissance Album Cover, 2022. For select vinyl releases, the artwork features Luca Giordano's 1690 painting La Conversion de Saint Paul behind Beyoncé atop a disco ball horse.*

Making scholarship like this accessible in local libraries allows emerging art lovers, students, and historians to engage with the truth of Black presence in global history, a mission aligned with NOMMO’s core values: amplifying Black and African diasporic voices and ensuring they are seen, centered, and celebrated in cultural spaces. For our chief curator and NOMMO alike, seeing this book on the library shelf is more than recognition; it’s a reminder that representation in history and art is not just necessary, it’s transformative.

For a deeper understanding of Black Magi within the exhibit, read the exhibition checklist and accompanying text.

Tyree Boyd-Pates 8/30/25 Tyree Boyd-Pates 8/30/25

Noah Davis at the Hammer Museum: Black Life, Archives, and Legacy

This week, NOMMO had the privilege of experiencing Noah Davis, the Hammer Museum’s first institutional survey dedicated to the late artist (1983–2015). For Tyree Boyd-Pates, NOMMO’s Chief Curator, a museum professional who has spent years leading and shaping exhibitions, walking through this expansive show felt both intimate and revelatory, a rare opportunity to see Davis’s creative life fully realized.

Featuring over 50 works produced between 2007 and 2015, the exhibition traces the breadth of Davis’s practice. His work reflects diverse influences: current events, everyday life, family histories, ancient Egyptian cosmologies, American media’s persistent racism, and the architecture and visual traditions of art history.

Davis drew inspiration from vernacular sources, flea market photographs, personal archives, and found images, transforming the overlooked into sites of imagination. His paintings hover between realism and dreamscape, joy and melancholy, capturing the contradictions inherent in Black lived experience.

Walking through the exhibition, I felt as if I were moving through Davis’s personal archive. Each piece is a testament to his deep care for Black life, memory, and kinship. Having previously visited The Underground Museum, a space Davis co-founded with his wife, Karon Davis, I recognized the continuation of a vision: art as a homeplace, a site of remembrance, and a vehicle for community.

What stands out most is Davis’s relationship to the archive. His visits to flea markets were more than aesthetic exercises; they were acts of reclamation. By collecting fragments of everyday life, he could reimagine and fill gaps in historical memory. This method reflects what scholar Saidiya Hartman calls “critical fabulation”, the imaginative reconstruction of Black histories that have been silenced or overlooked.

From a curatorial perspective, this exhibition demonstrates how archives, memory, and myth can coexist in ways that feel both personal and universal. It offers a blueprint for museums and cultural institutions striving to present Black art with nuance, care, and historical integrity. At the same time, it affirms NOMMO’s mission: to craft narratives and strategies that honor Black creativity, storytelling, and lived experience.

In presenting Noah Davis, the Hammer Museum not only celebrates an extraordinary artist but also amplifies the legacy of The Underground Museum and the vision Davis shared with Karon. Experiencing this exhibition is a poignant reminder that art, when grounded in care and curiosity, can encompass both the ordinary and the extraordinary, and that Black life, in all its complexity, deserves to be rendered visible and celebrated.