Podcasts about curatorial practice

You've probably admired one of Ky Vassor's murals without even knowing it—now she's back to pull back the curtain on how those vibrant public artworks, pop-up workshops, and neighborhood installations all began with a passion for community and a sprinkle of hustle.In this episode, Baltimore's interdisciplinary artist and Galerie Myrtis Assistant Director walks us through the unlikely lessons she learned bartending, volunteering, and designing street-team campaigns before deciding to earn an MFA in Community Arts—and how every step shaped her mission to make creativity part of daily life.From bartending and street‐team hustle to graduate studies: the unconventional path that led her to an MFA in Community ArtsCommunity‐first curation: activating public murals, mixed-media installations, and pop-up workshops in everyday spacesMentorship in action: building support networks for emerging artists through hands-on teaching and one-on-one studio visitsWearing multiple hats: balancing roles as artist, educator, and museum administrator for sustainable impactHonoring untold stories: creating works that uplift underrepresented voices and spark neighborhood prideWhat's next: upcoming public art commissions and expanded educational programs designed to broaden Baltimore's creative ecosystemCatch Ky Vassor's first appearance on the podcast here: Whether you're an artist, educator, or simply curious about the power of public art, this chat will leave you inspired to look at your own neighborhood in a whole new light. 

SummaryIn the first episode of our 2024 season, our host Stephanie Fortunato speaks with Tairone Bastien, curator of 'A Feral Commons', a global public art co-commission project that examines the often unrecognized co-dependence and open-ended collaborations between human and non-human beings. The project is led by Alserkal Advisory in collaboration with GCDN and with support from UAP – and features site-specific installations located in three cultural districts worldwide: Alserkal Avenue, Kingston Creative, and Victoria Yards.Guest bioTairone Bastien (he/him) is an independent curator based in Toronto and an Assistant Professor in the Criticism and Curatorial Practice program at Ontario College of Art and Design University. Tairone co-curated the inaugural Toronto Biennial of Art in 2019 and in 2022. From 2011-2016, Tairone established the arts program at Alserkal Avenue and the Alserkal Residency in Dubai, for artists, curators, and researchers in the Middle East, North Africa, and South Asia. From 2005-2010, he was a curator for Performa in New York City, co-organizing the first three editions of the ground-breaking biennial of live performance art. Tairone holds a Master of Art from the Center for Curatorial Studies, Bard College, New York; and a Bachelor's Degree in Art History with a Minor in Critical Studies in Sexuality from the University of British Columbia. External referencesA Feral Commons Website: https://aferalcommons.com/A Feral Commons ArtistsIo Makandal: https://iomakandal.com/Muhannad Shono: https://muhannadshono.com/Camille Chedda: https://www.camillechedda.com/Alserkal article detailing A Feral Commons: https://alserkal.online/words/the-global-co-commissionUrban Art Project (UAP): https://www.uapcompany.com/Alserkal: https://alserkal.online/Kingston Creative:https://kingstoncreative.org/Victoria Yards: https://www.victoriayards.co.za/Toronto Biennial: https://torontobiennial.org/Hassan Sharif: https://en.wikipedia.org/wiki/Hassan_SharifAna Tsing: https://en.wikipedia.org/wiki/Anna_TsingFeral Atlas, 79 field reports from scientists, humanists, and artists that show you how to recognize “feral” ecologies: https://feralatlas.org/Mushroom at the end of the world: https://en.wikipedia.org/wiki/The_Mushroom_at_the_End_of_the_WorldArticle detailing Chedda's Art Exhibition: https://our.today/jamaican-camille-chedda-selected-for-climate-themed-art-exhibition/Juksgei River, Johannesburg South Africa: https://en.wikipedia.org/wiki/Jukskei_RiverWater for the Future, an organization dedicated to reviving the Jukskei river's ecosystem through collaborative, community-based spatial interventions. Collaborating with Makandal on her exhibition: https://www.waterforthefuture.co.za/ LinkedInsTairone Bastien : https://www.linkedin.com/in/tairone-bastien-6310608/?originalSubdomain=caAlserkal LinkedIn:https://www.linkedin.com/company/alserkal/Camille Chedda:https://www.linkedin.com/in/camille-chedda-8233bb33/Io Makandal:https://www.linkedin.com/in/io-makandal-schiess-6b693629/ InstagramsMuhannad Shono: https://www.instagram.com/muhannad.shono/Io Makandal: https://www.instagram.com/iomakandal/Camille Chedda: https://www.instagram.com/camillechedda/Alserkal: https://www.instagram.com/alserkalavenue/

In this roundtable dialogue, three art historians discuss pedagogical approaches in socially engaged art practices as they apply to the teaching of art history, paying critical attention to the ways these strategies intervene on and challenge neoliberal educational norms. How have contemporary artists working in various social and political contexts transformed public and alternative spaces into discursive platforms through which knowledge can be generated, shared, or amplified collectively? And what can we learn about teaching art and art history in the North American system by studying these artists' approaches? This conversation emerged from a panel at CAA 111th Annual Conference, “Generative Pedagogies in Art and Curatorial Practice.” The project will culminate with the publication of Pedagogical Art in Activist and Curatorial Practices, edited by Noni Brynjolson and Izabel Galliera, forthcoming from Routledge in early 2025. Noni Brynjolson is an Assistant Professor of Art History at the University of Indianapolis, where she has taught since 2020 after receiving her PhD in Art History from the University of California San Diego. Her research focuses on collaborative public art projects and examines themes of repair and construction in contemporary art. Izabel Galliera is an Associate Professor of Art History at Susquehanna University, where she is also an Associate Director of the Center for Teaching and Learning and co-coordinator of the minor in museum studies. She received her PhD in Art History from the University of Pittsburgh. Her research is at the intersection of contemporary art, activism, and social justice. Jessica Santone is an Associate Professor of Art History and Visual Studies at Cal State East Bay, where she has taught since 2015. She received her PhD from McGill University. Her research concerns pedagogical art and social practice, particularly projects that expand knowledge around climate and science.

What does it look like to actually exist within graduate school? Most grad and post-doc students spend their degrees carefully balancing their schooling alongside holding full-time jobs, building professional connections, supporting themselves financially and physically, and engaging in their creativity outside of school. This podcast explores the question: what does the world of academia look like while situated within these experiences, and how do graduate programs support their students with community and access to resources? Grace Oller and Hannah Warren are currently receiving their master's degrees in the Graduate School of Arts & Sciences at New York University. Grace attends the Institute of Fine Arts and is seeking a degree in Art History and Archeology, while Hannah is receiving her MA from the XE: Experimental Humanities and Social Engagement program. In this conversation, Grace and Hannah discuss what brought them to NYU, how they have navigated their first year, and what their hope is for the future of their programs, specifically addressing how community has been fostered in these spaces. This episode hopes to extend empathy to students facing the same battles, while providing a moment of contemplation for those who may exist outside of this specific realm of academia. As creatives and academics, Grace and Hannah explore the integration of art, education, and building connections with others. Grace Oller is a Graduate Student at New York University's Institute of Fine Arts (IFA) studying Modern and Contemporary Art History and Curatorial Practice. Born and raised in rural Ohio, she attended the Columbus College of Art and Design and received a BFA in Fine Arts with minors in Creative Writing and Art History. She has held positions as an Exhibition Assistant at the Columbus Museum of Art, co-editor in chief of the online publication, IFAcontemporary, and a contributing writer for a forthcoming book published by NYU's Grey Art Gallery celebrating the Anonymous Was a Woman award. Her work challenges ideas surrounding accessibility and labor in the art world, and you can find her around New York enjoying the delicious sounds of live jazz. Hannah J. Warren (she/her) grew up in Upstate NY but currently resides in Brooklyn, NY, obtaining a Master's degree in Experimental Humanities and Social Engagement from NYU. Hannah received her BA in English with an emphasis in writing, and a minor in Women and Gender Studies from Hartwick College in 2020. Recently Hannah has had poetry published in The Bookend Review, and has helped edit the poetry in her programs magazine Caustic Frolic. Beyond her joy for writing, Hannah enjoys spending her time traveling, reading, buying books, and trying to keep her plants alive. Hjw2170@nyu.edu. *This podcast, Past The Door, was recorded by Grace Oller and Hannah Warren, and edited by Hannah Warren.

Dee Haughney is Head of Learning at De La Warr Pavilion, Bexhill-on-sea. She was born in Ireland, studied Photography at TU Dublin, Curatorial Practice at Falmouth University and Asian Art at Sotheby's Institute of Art.  She worked with the Kilkenny Arts Festival, Ireland, Newlyn Art Gallery, Cornwall and The Photographers' Gallery, London before joining October Gallery in 2012. As Curator of October Gallery for over eight years, she managed exhibitions, international art fairs and major installations working closely with artists such as El Anatsui, James Barnor and Sokari Douglas Camp. In 2018, she undertook a research trip, cycling the length of Africa from Cairo to Cape Town. Since 2022 she has been Head of Learning at De La Warr Pavilion, one of the largest contemporary arts centres in the southeast. Outside of this she works as an Independent Curator working with artists from Ireland and around the world. Links: https://www.deehaughney.com/aboutdeehaughney https://www.dlwp.com/  https://www.madeinbed.co.uk/interviews/anindya-sen-in-conversation-with-curator-of-october-gallery-dee-haughney   music ‘Baby, I Miss The Internet' (Rama, Rama, Rama)  by TOT TAYLOR is used by kind permission of the artist ©Tot Taylor/Songmatic Music (2020) PRS/MCPS/PPL

Megan E. L. Klink is a digital artist, independent curator, and creative director based in Washington, D.C. She graduated with an MFA in Curatorial Practice from the Maryland Institute College of Art (MICA) and a B.A. in Art History with a concentration in Global Contemporary Art from Washington College. Klink currently works in creative marketing at VERSUS, a multi-vertical lifestyle brand with best-in-class hospitality venues, a cutting-edge marketing agency and an innovative venture arm. She uses her creative background to implement innovative digital and physical marketing campaigns in the D.C. and New York areas. Through her current work, she aims to create engaging and cohesive branding strategies under the VERSUS umbrella. In her free time, Klink continues her art practice and intends to continue independent curatorial work in the future. Both her personal and curatorial works explore the idea of a postcontemporary art world, an era she believes we already inhibit. Klink's work aims to create a non-conforming space for artists in a rapidly-changing digital society. In this episode of The Truth In This Art, Megan E.L. Klink discusses her experiences growing up around art, shifting to arts education, and her work with VERSUS, a multi-vertical lifestyle brand with best-in-class hospitality venues, a cutting-edge marketing agency and an innovative venture arm.Creators & Guests Rob Lee - Host The Truth In This Art, hosted by Rob Lee, explores contemporary art and cultural preservation through candid conversations with artists, curators, and cultural leaders about their work, creative processes and the thinking that goes into their creativity. Rob also occasionally interviews creatives in other industries such as acting, music, and journalism. The Truth In This Art is a podcast for artists, art lovers and listeners interested in the creative process.To support the The Truth In This Art: Buy Me Ko-fiUse the hashtag #thetruthinthisartFollow The Truth in This Art on InstagramLeave a review on Apple Podcasts, Spotify or wherever you get your podcasts. ★ Support this podcast ★

Dulcina Abreu is a Dominican-born independent curator, artist, and museum advocate. She graduated with a MFA in Curatorial Practice from the Maryland Institute College of Art, focused on digital platforms and a BFA in Fine Arts and Media from Parsons, The New School. Prior to living in New York, Dulcina studied at The National School of Visual Arts and Altos de Chavon School of Design, both in the Dominican Republic. Abreu's work explores 21st century visual and material culture from the Caribbean Diaspora in the US, immigration, community organizing, mutactivism. She serves as the Consulting Curator for the September 11th,2001: An Evolving Legacy project at the National Museum of American History; Co-founder of the International Coalition of Museum Professionals and Communities alongside Armando Perla. Abreu currently manages the NYC Latino 9-11 collecting initiative and NYC Latino COVID-19 project which aims to expand the national narrative with Latino/a new yorker stories and material culture; and will be joining the Latinx Youth Movements project this upcoming august to support lead curator Margaret Salazar-Porzio with a curatorial assistant position at the Molina Family Latino Gallery in collaboration with Smithsonian Latino Center and the National Museum of American History.Creators & Guests Rob Lee - Host Dulcina Abreu - Guest Rob Lee & The Truth in This Art present "Summer of Soul"Attention all movie lovers and fans of "The Truth In This Art" podcast (www.thetruthinthisart.com)! Host Rob Lee is thrilled to partner with Pratt Library for a four-part Black Cinema series at Pratt Library from March through June 2023, starting with Thompson's 2022 Oscar-winning documentary, Summer of Soul. Summer of Soul reclaims the legacy of 1969's Harlem Cultural Festival, which promoted Black pride and culture with musical performances by Nina Simone, Stevie Wonder, B.B. King, the Chambers Brothers, Gladys Knight & the Pips, and Sly & the Family Stone.Join Rob for a night of trivia and conversation as he breaks down movies connected to Black history, culture, music and cinema. The three other films in the series - all directed by Spike Lee -  include The BlacKKKlansman (April 26), Do the Right Thing (May 25) and He Got Game (June 22). Thursday, March 9 at 5:30pm for more information and to secure tickets ★ Support this podcast ★

Nuestra Palabra Presents: Preview of “Images & Words: Media's Influence on the Struggle for Civil Rights” Tony Diaz discusses with the Rothko Chapel team about the MLK tribute on Jan 15th and their work supporting this effort. Kelly Johnson (she/they) is an arts and culture organizer, curator, and writer. She is the Director of Public Programs at the Rothko Chapel, a sacred art space dedicated to community engagement through contemplation and action at the intersections of art, spirituality, and social justice. Kelly has organized programming at the Chapel for 6 years, including concerts and performances, lectures, conversations, meditations, and conferences, covering issues such as racial equity, climate justice, civil rights, and more. They earned an MFA in Curatorial Practice from Maryland Institute College of Art in Baltimore, MD, and a BA in Art History from Southwestern University in Georgetown, TX. Kelly is a board member of Houston's Center for the Healing of Racism and completed a New Leaders Council (NLC) Houston Fellowship in 2022. Devin Allen, Baltimore native is a self-taught artist who gained national attention when his photograph of the Baltimore Uprising was published on the cover of Time magazine in May 2015, making him only the third amateur photographer to have his work featured in the publication. Following the untimely deaths of George Floyd, Tony McDade, and Breonna Taylor, his photograph from a Black Trans Lives Matter protest was published on the cover of Time magazine in June 2020. In 2017, he was named the first fellow of the Gordon Parks Foundation Fellowship and was nominated for an NAACP Image Award as a debut author for his book, A Beautiful Ghetto (Haymarket Books, September 2017). In 2020, he was named an ambassador for Leica Camera AG—an international, premium manufacturer of cameras and sports optics. His photographs have been published in New York Magazine, The New York Times, The Washington Post, and Aperture; and are also in the permanent collections of the National Museum of African American History & Culture in Washington, D.C., the Reginald F. Lewis Museum, the Studio Museum in Harlem, and The Jule Collins Smith Museum of Fine Art. He is the founder of Through Their Eyes, a youth photography educational program, and recipient of an award from The Maryland Commission on African American History and Culture for dynamic leadership in the Arts and Activism. His new book, No Justice, No Peace: From the Civil Rights Movement to Black Lives Matter, was released in October under the Legacy Lit imprint of Hachette Book Group. Lisa Volpe, Associate Curator of Photography, Museum of Fine Arts, Houston Lisa Volpe is the Associate Curator, Photography at the Museum of Fine Arts, Houston. Before arriving in Houston, she was the Curator of the Wichita Art Museum where she oversaw all areas of the museum's collection. Additionally, she held various curatorial roles at the Santa Barbara Museum of Art (SBMA), and fellowships at the Los Angeles County Museum of Art (LACMA) and the Cleveland Museum of Art. Writer and activist Tony Diaz, El Librotraficante, hosts Latino Politics and News and the Nuestra Palabra Radio Show on 90.1 FM, KPFT, Houston's Community Station. He is also a political analyst on “What's Your Point?” on Fox 26 Houston. He is the author of the forthcoming book: The Tip of the Pyramid: Cultivating Community Cultural Capital. www.Librotraficante.com www.NuestraPalabra.org www.TonyDiaz.net Instrumental Music Produced courtesy of Bayden Records Website | baydenrecords.beatstars.com

In this episode of Out There Becky and Tinna discuss what is taking place at Iceland University of the Arts, from the perspectives of artist and head of the fine art department Bjarki Bragason and curator and Professor Hanna Styrmisdóttir. Sharing their personal experience and diverse professional backgrounds, Bjarki and Hanna contribute to the progressive and expanding art university in Iceland. We discuss the Universities goals, ambitions and future, program formats and the thriving student body. Hanna Styrmisdóttir is a curator, art adviser and supervising professor of the International MA Curatorial Practice based in Iceland University of the Arts. Bjarki Bragason is an artist and Head of the Fine Art Department at Iceland University of the Arts. In his work, Bjarki focuses on collisions in time, tracing paradigm shifts through investigating these shifts in geology, botany or architecture. This episode ends on a performative note with a script being read out loud by recent BA graduates in Fine art from the Iceland University of Arts. Hlökk Þrastardóttir, who invigilated at the Icelandic Pavilion as an intern of the Icelandic Art Center this autumn and her close creative collaborator Silja Jónsdóttir, the pair were in residency at Kling & Bang this past summer which ended with a pop-up exhibition in the gallery space.

Deyane Moses is a veteran, artist, activist, and curator living in Baltimore, MD. She graduated from the Maryland Institute College of Art (MICA) with a BFA in Photography and an MFA in Curatorial Practice. She received international recognition during her studies for her project, The Maryland Institute Black Archives (MIBA), which documents MICA's Black history from the 1800s to the present and explores its relationship with Black Baltimoreans. MIBA and its accompanying programs prompted MICA's President to issue a public statement apologizing for the College's racist past. In 2020, Deyane founded Blackives, LLC a consulting firm that assists Black folk with research, preservation, and mobilization of the archives. She served as a Community Archives Fellow for Inheritance Baltimore and now she is the Public Access Archivist for Afro Charities Inc, which is a not-for-profit organization that preserves 130 years of Baltimore AFRO American Newspaper Archives.The Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture. Mentioned in this episode:Deyane Moses To find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory. Stay in TouchNewsletter sign-upSupport my podcastShareable link to episode ★ Support this podcast ★

 Frameform is back!! We kick off Season 3 with a recap of the Screendance Symposium, which took place at the University of Wisconsin, Madison in April of 2022. Jen and Clare reflect on being a part of a rich gathering and sharing of the screendance community and share excerpts from several presentations. First up, Autumn Mist Belk (FAD: Film-Art-Dance, now Screendance in Schools) invited Frameform to be a part of a panel entitled “Crafting a Diverse Screendance Audience” which also featured Robin Gee (Greensboro Dance Film Festival) and Jennifer Scully-Thurston (Rogue Dancer). Then, Clare shares a portion of her research into Lenwood Sloan and Lone Mountain College's Dance Film Festival (1976-1978).--Screendance State of the Art 2022 Symposium Website and Informationhttps://screendancesymposium.art.wisc.edu/Curated by Douglas Rosenberg (@rosenberg_douglas) Administrative assistance from Kel Mur (@kel.mur.art)Technical assistance & audio files from Aaron Granat (@adgranat)“Crafting a Diverse Screendance Audience” PanelCurated by Autumn Mist Belk (@autmist, @screendance_schools, @codefadcompany)Panelists:Clare SchweitzerJen RayRobin Gee (@robingee2, @gsodancefilm) Jennifer Scully Thurston (@roguedance)“Lone Mountain College's San Francisco Dance Film Festival 1976-1978”Films ReferencedClinic of Stumble & Horror Dream- Sidney Peterson & Marian Van Tuyl (available to view at BAMPFA)Tripytych -Welland Lathrop (available to view at MP+D)Four in the Afternoon- James BroughtonSix Phrases in Real Time- Deborah MangumVideola- Don Hallock and Steve BeckThermography - Richard LowenbergFurther ReadingRadical Light: Alternative Film and Video in the San Francisco Bay Area,1945–2000   Steve Anker, Kathy Geritz, and Steve Seid, editors (2010)Screendance from Film to Festival: Celebration and Curatorial Practice by Cara Hagan (2022)Specials Thanks to Bay Area Art Museum and Pacific Film Archive (@bampfa),Museum of Performance and Design San Francisco (MP+D), University of San Francisco Archives, Lenwood Sloan, Roger Ferragallo (http://www.ferragallo.com/indexnoflash.html), I- HATE-THIS-FILMThe slides that accompanied the presentation are available upon request   

Serving as the Walker's Senior Curator of Performing Arts since 1997, Philip Bither spearheads one of the country's leading contemporary performing arts programs. He oversaw the 2005 building of the McGuire Theater, an acclaimed theatrical space and production laboratory; raised the Walker's first dedicated performing arts endowment; commissioned of more than 180 new works; and hosts the annual residency and presentation support of dozens of contemporary performing arts creators. Prior to this, he was Artistic Director for the Flynn Center in Burlington, VT and served as Associate Director/Music Curator for BAM's Next Wave Festival. In 2011, he co-founded the Institute for Curatorial Practice in Performance (ICPP) graduate program at Wesleyan University. He regularly sits on foundation and governmental arts panels, writes about interdisciplinary curatorial practice and travels globally to research new performance and to speak about trends in the contemporary performing arts.

Episode 88 features Kate Fowle, the Director of MoMA PS1. From 2013-2019 she was the inaugural chief curator at Garage Museum of Contemporary Art in Moscow and director-at-large of Independent Curators International (ICI) in New York, where she was the executive director from 2009-13. Prior to this she was the inaugural international curator at the Ullens Center for Contemporary Art in Beijing (2007-08). In 2002 she co-founded the Master's Program in Curatorial Practice for California College of the Arts in San Francisco, for which she was the Chair until 2007. Before moving to the United States, Fowle was co-director of Smith + Fowle in London from 1996-2002. From 1994-96 she was curator at the Towner Art Gallery and Museum in Eastbourne, East Sussex. Fowle's recent projects include solo exhibitions with David Adjaye, Rasheed Araeen, John Baldessari, Sammy Baloji, Louise Bourgeois, Marcel Broodthaers, Urs Fischer, Rashid Johnson, Irina Korina, Robert Longo, Anri Sala, Taryn Simon, Juergen Teller, and Rirkrit Tirivanija, as well as extended essays on Ilya Kabakov, Sterling Ruby, and Qiu Zhijie, and numerous extended articles on curating and exhibition histories. Fowle has written three books: Exhibit Russia: The New International Decade 1986-1996 (2016); Rashid Johnson: Within Our Gates (2016); and Proof: Francisco Goya, Sergei Eisenstein, Robert Longo (2017) Photo by James Hill MoMA Bio https://www.moma.org/about/senior-staff/kate-fowle PS1 https://www.moma.org/ps1 NYTimes https://www.nytimes.com/2021/09/14/arts/design/greater-new-york-new-museum-performa-biennial.html Artnet News https://news.artnet.com/art-world/art-world-works-home-kate-fowle-1892064 Architect Magazine https://www.architectmagazine.com/practice/kate-fowle-appointed-director-of-moma-ps1_o Call for Curators https://callforcurators.com/blog/kate-fowle-appointed-director-of-moma-ps1/ Auckland Art Gallery https://www.aucklandartgallery.com/page/judge-announced-for-the-walters-prize-2021-opening-this-weekend-at-auckland-art-gallery-toi-o-tamaki

Are you an artist looking for a community of kindred spirits and support? Listen here as this Ghanian American Artist shares the importance of both.Today on the Black Women Rising Podcast, we sat down with Ghanian-American business owner and artist Victoria Timpo. Victoria is the founder of Kindred Creatives Collective, aiming to connect and support black women artists. She is also the host of the creators making moves podcast. In this episode, Victoria shares her passion for her culture, heritage, art, and the community of artists she works and connects with. She also shares how important it is to support and patronize black artists.Key Discussion Points From This Episode Include:[00:02:29] The Art Victoria Creates[00:03:33] Victoria's Inspiration For Creating Art[00:06:29] Victoria's Art Company[00:09:16] Biggest Struggle as a Creative [00:11:45] Victoria's WHY[00:15:36] Finding Time For Self-Care[00:18:06] A Myth About Black Women Artists That Needs to be Debunked[00:22:11] The Importance of Having Mentors and Support[00:28:38] Victoria's Definition of Black Girl Magic  Connect with Victoria:Instagram: Victoria Timpo |Art Retreat

Speakers: Biljana Ciric and iLiana Fokianaki In this lecture, curator and researcher Biljana Ciric discusses her educational platform What Could/Should Curating Do? and long-term project 'As you go... the roads under your feet, towards a new future' as experimental models for cross-cultural collaborations. Writer and curator iLiana Fokianaki shares her curatorial journey in establishing the non-profit gallery ‘The State of Concept' in Athens and her interdisciplinary program 'The Bureau of Care'. Ciric and Fokianaki also reflect on the future of art institutions and the responsibility of curators and arts workers in these changing times. Read more here: https://acca.melbourne/program/experimental-institutionalism/

“ I think it is incredibly important to always remember that art can not save us. Art will not save us. Art is not the means... art is not the vehicle that changes the material lived conditions of people's lives." — Deana Haggag In today's episode, we're speaking with Deana Haggag (@dhaggag), Program Officer at the Andrew W. Mellon Foundation. She's also the former President & CEO of United States Artists where she helped develop Artist Relief, a $25 million emergency initiative to support artists facing dire financial circumstances due to COVID-19. We're also joined by Shreya Patel, model turned writer, actress, and filmmaker who is my co-founder on the lovespreads.org project (this podcast was originally recorded for that, and is being published on Conscious Creators). Here are some of the topics we discuss: Why art is impactful, but can not save us Deana talks about our own responsibility to take accountability for our actions She takes us on her life journey from her childhood We dive into the aspects that built her into the person she is today She talks about the her work supporting artists at United States Artists; including the $25 Million Artist Relief Fund How money alone doesn't make people happy, but poverty will kill them How Covid-19 impacted the way artists create and distribute their art Welcome to the Conscious Creators Show; where through intimate and insightful interviews with authors, actors, musicians, entrepreneurs and other podcasters, you'll learn tools and tactics to 10x your creativity and improve your business and life. Like this show? Support us by following the show, leaving a review here and helping us spread the word by sharing the pod with one (or three) friends: https://refer.fm/creators Do you want to learn how to make a living as a creator? Check out the CreatorsMBA where we show you how to get paid to create online: http://www.creatorsmba.com Follow our host, Sachit Gupta, and get it touch if you have any questions or ideas related to the show: Twitter, Instagram, LinkedIn and TikTok. Please enjoy today's episode and thank you for listening! Sachit Show Notes 0:24 - How we should think about justice for indigenous groups 3:51 - How art has an impact and influences everyday culture 6:13 - The responsibility of an artist and role of art 10:05 - Why art is powerful, but can't save us 13:29 - Deana's life journey and what led her to United States Artists 15:55 - How her childhood set her life values today 22:22 - Why we need to be mindful of micro-aggressions and their impact on communities 23:45 - How she frames her professional career for her immigrant parents 26:32 - What drew her to art 28:32 - Her work as CEO of United States Artists 31:28 - How United States Artist is changing the lives of artists 36:24 - How Covid-19 impacted the way artists create and distribute their art 40:42 - How she helps spread love in the world 43:26 - How you can support artists and what the future looks like for United States Artist Tweetable Quotes "And it's just really, the magnitude of this moment hits me every day. Years from now, we'll be looking back at these heroes who are just fighting with their lives to change our country. And so I think my particular context is about time. That we have opened the doors on these very critical conversations as an entire nation” - Deana Haggag “I guess I feel like what artists do for me is they, they make language, they tell stories. They document what it was like to be alive at any particular moment. So much of what we know about other civilizations and other times, and other people is like via the mechanism that is art-making right.” - Deana Haggag “And right now a lot of families and a lot of institutions and a lot of politicians need a new language and a new story and a new way to frame the world. And I think artists can frame for us the things we never thought possible. The things we actually could not see by the mechanism of how they make things in the world.” - Deana Haggag “Art can't solve the world's problems, but art can hold it.” - Deana Haggag About Our Guests Deana Haggag is a Program Officer in Arts and Culture at The Andrew W. Mellon Foundation. Prior to joining the foundation in May 2021, she was the President & CEO of United States Artists, a national arts funding organization based in Chicago, IL. During her tenure, USA saw unprecedented growth, expanding its Fellowship award program, launching the Berresford Prize, and developing coalition efforts to advance support for individual artists most notably including Artist Relief, a $25 million emergency initiative to support artists facing dire financial circumstances due to COVID-19, and Disability Futures, an initiative aimed at increasing the visibility of disabled creative practitioners across disciplines and geography and elevating their voices individually and collectively. Before joining USA in February 2017, she was the Executive Director of The Contemporary, a nomadic and non-collecting art museum in Baltimore, MD, for four years. In addition to her leadership roles, Deana lectures extensively, consults on various art initiatives, contributes to cultural publications, and has taught at institutions such as Johns Hopkins University and Towson University. She is on the Boards of The Underground Museum and Pillars Fund, as well as the Artistic Director's Council of Prospect.5 and Advisory Council of Recess. She received her MFA in Curatorial Practice from the Maryland Institute College of Art and a BA from Rutgers University in Art History and Philosophy. Additionally, she completed the National Arts Strategies Chief Executive Program in 2020, Stanford Impact Program for Arts Leaders in 2018, and was a Salzburg Global Fellow for Young Cultural Innovators in 2015. Among other honors, she was most recently named a 2020 YBCA 100 Honoree. She is a disabled first-generation Egyptian-American Muslim woman of Afro-Arab descent. She currently lives on Munsee Lenape land, known today as Brooklyn, New York. Shreya Patel is a model turned writer, actress, and filmmaker. She's a graduate of the Second City Conservatory and can be seen in hit shows such as Mrs. America and Grand Army. Her directorial debut, the documentary Girl Up, brings light to domestic violence and human trafficking in Toronto and has been partnered with Toronto International Film Festival to showcase at Civic Action Summit. During this pandemic, she has gathered 66 countries made a documentary called Unity - #LOVESPREADS Faster Than Virus showcasing the plight of the human spirit. Following Unity, Shreya directed a music video called Freedom Dance which hit over 12 million views on YouTube. The music video features a global cast showcasing what their inner freedom looks like during the lockdown. Rolling Stones India has reported about it too. Currently, she is working on a web series called Layla is Relevant.

Lead From The Land was a collaborative research project between Zambian artist Banji Chona, currently located in Rome, and Nigerian artist Yadichinma Ukoha-Kalu, who lives in Lagos. Their correspondence took the form of a six-week-long residency built on an understanding of food creation and consumption as a ritualistic practice that fosters earthly and ancestral connections. Through their correspondence with each other and curator Beulah Ezeugo, they trace personal acts of resistance to the colonisation of indigenous food practices. This work is grounded in exploring the archival nature of the seed, the crop, and the recipe; the cross-generational transmissions that occur when we cook; and their capacity to transmogrify according to our own understanding of our identities and localities. The resulting archive - composed of audio, video, and text - records the potential for our foodways to become a tool to map an ecosystem, one that symbiotic threads taste to place, ritual to invention, and exploitation to exchange. In this podcast, DTA catch up with Banji, Yadichinma and Beulah to explore the process behind the work. Bios Yadichinma Ukoha-kalu - Artist Yadichinma Ukoha-Kalu is a self-taught multimedia artist based in Lagos. Her practice centers on explorations of line, form and boundary which she expresses through a variety of media including painting, drawing, sculpture and film. Ukoha-Kalu often creates landscapes on paper made with a combination of abstract elements and textures. Her work sometimes exposes the skeletal process of creating, where the audience is invited to witness and explore with her. Banji Chona - Artist Banji Chona is a Zambian artivist and artchivist whose work manifests across the artistic and cultural spectrum. Banji's work channels the visceral need to bring to life accessible spaces dedicated to fostering nuanced artistic and cultural dialogue. Her mission is the deconstruction and reconstruction of orthodox archetypes and normative ideologies through the use of dynamic multidisciplinary art, which has great potential to shift paradigms and inspire children of the Zambezi to live and express their truths which exist at the intersection of historical and contemporary happenstance. Beulah Ezeugo - Curator Beulah Ezeugo is an Igbo curator and researcher, whose current work investigates the collective memories embedded within internets, bodies, and ecosystems. Her practice is informed by a Social Science background from University College Dublin and an MLitt in Curatorial Practice from Glasgow School of Art and the University of Glasgow. She is interested in using archival interventions to collaboratively map new openings and overtures towards a Black postcolonial future.

Interview and conversation with Jaamil Olawale Kosoko, choreographer, writer, dancer, and curator as he prepares for the upcoming The Gemini Show: An Evening of Daring Dirty Duets, on Thursday, June 9 and Friday June 10th, at thefidget space in Fishtown. Jaamil Olawale Kosoko, a 2011 Fellow at the Kennedy Center for the Performing Arts and an inaugural member of the Institute for Curatorial Practice in Performance at Wesleyan University, is a poet, choreographer, performance artist, curator, experimental vocalist, and comedian. He is the Executive Producing Director at The Philadiction Movement, a Philly based performance company. His work has received support from The Pew Center for Arts and Heritage through Dance Advance, Philadelphia Cultural Management Initiative, The Joyce Theater Foundation, and The Philadelphia Cultural Fund among other agencies. His work in dance theater has been shown at Joyce SoHo, Dixon Place, Dance Theater Workshop, Bennington College, Danspace at St. Mark's Church, the CEC Meeting House Theater, Painted Bride Arts Center, among others. He has performed with Kate Watson-Wallace/anonymous bodies, Pig Iron Theatre Company, Keely Garfield Dance, Miguel Gutierrez and The Powerful People, Headlong Dance Theater, Leah Stein Dance Company. He's been published in The American Poetry Review, The Dunes Review, The Interlochen Review, The Broad Street Review, Silo Literary and Visual Arts Magazine, and Poems Against War. Mostly recently Kosoko published his newest poetry collection, Notes on an Urban Kill-Floor.

Ever wondered how a mural even begins? Check out this interview with Liz Lidgett. Liz Lidgett was born in Iowa, graduated from Roosevelt High School, got her Journalism degree from University of Missouri-Columbia, then got her Masters in Art and Curatorial Practice in the Public Sphere from University of Southern California.  She now runs a gallery in the East Village of Des Moines, Liz Lidgett Gallery + Design. All this to say Liz enjoys art and knows how to talk about it! We recently sat down with Liz to discuss the murals of Des Moines and how art, specifically murals affect a city and even affect a home! 

The SLC Performance Lab is produced by ContemporaryPerformance.com and the Sarah Lawrence College MFA Theatre Program. Each month a visiting artist to the MFA Theatre Program's Grad Lab is interviewed. Grad Lab is one of the core components of the program where graduate students work with guest artists and develop group-generated performance pieces monthly. Caleb Hammons is interviewed by Kyrie Ellison (SLC21) and Andrew Del Vecchio (SLC22). CALEB HAMMONS is a Tony and Obie Award-winning cultural producer and curator of performance working in Brooklyn and the Hudson Valley. Currently the Director of Artistic Planning and Producing at the Fisher Center at Bard, he facilitates Live Arts Bard, a professional commissioning, residency, and presenting initiative focusing on contemporary practices in the performing arts, produces an extensive portfolio of dance, theater, live music, and transdisciplinary performance projects, and co-curates the Bard SummerScape Spiegeltent. Prior to his time at Bard he was the Producer at Soho Rep in NYC and was the first Producing Director of Young Jean Lee's Theater Company from 2008 to 2011. He is the Co-Curator of the acclaimed Brooklyn-based performance series CATCH. Caleb holds a BFA from the NYU/Tisch Experimental Theatre Wing and was a member of the Institute for Curatorial Practice in Performance's inaugural class at Wesleyan University. Photo is by Maria Baranova

Ben Parry (pictured) gave a stirring introduction to the latest webinar staged by Global Tapestry of Alternatives. Dr Parry who is a senior lecturer and course leader at Curatorial Practice said colonialism, capitalism and patriarchy were the antecedents of the climate crisis and continued to be the drivers. Listen to "Music for a Warming World".

This episode we are thrilled to be joined by an amazing gallerist - and friend - Jessica Silverman. Jessica founded her namesake gallery in 2008 in San Francisco’s Tenderloin district; after completing a Bachelor of Fine Arts in Studio Art at Otis College in Los Angeles and a Master of Arts in Curatorial Practice at the California College of the Arts in San Francisco. Since then, the gallery has moved to a newly renovated space in the city’s Chinatown neighborhood, with an impressive roster of artists such as: Judy Chicago, Hugh Scott-Douglas, Isaac Julien, Andrea Bowers, and (one of our personal favorites) Hayal Pozanti - just to name a few. Renowned for punching above its weight, the gallery has an international reputation for curating compelling exhibitions and building artists’ careers. Works by the gallery’s artists have been acquired by leading museums all over the world including: Tate (London), Centre Pompidou (Paris), MoMA (New York), MCA Chicago, and Los Angeles County Museum of Art - among many others. Visit the gallery's website here. Some artists discussed in this episode: Yoko Ono Ay-O Soo Kim Woody De Othello Dashiell (Dash) Manley Isaac Julien Judy Chicago Andrea Bowers Clare Rojas Catherine Wagner Sadie Barnette La Monte Young Robert Smithson Rose B. Simpson Howardena Pindell Joan Jonas Jackson Pollock Clyfford Still Barnett Newman For images, artworks, and more behind the scenes goodness, follow @artfromtheoutsidepodcast on Instagram.

In the 17th issue of Contemporary Czech Art in Berlin by the Czech Centre Berlin we spoke to Magdalena Jadwiga Härtelová. She is a curator and artist currently working between Berlin, Prague, and the Bay Area. She focuses on care and its ethics in action through exhibition and art making, writing, social practice projects and community organizing. Härtelová received her MA degree in Curatorial Practice at the California College of the Arts, where she wrote her thesis on "Curating and the Concept of Intersectional Care". As a curator she runs e.g. a gallery space located at Kottbusser Damm 68, 10967 Berlin, in her bedroom. In the podcast you can learn more about the current program of the gallery on Kottbusser Damm, about the project the Hologram which was established as a reaction to today's crisis, what was crucial for Magdalena in the exhibition series she curated on accessibility for GAVU in Prague and also about her thoughts on identity and a project focusing on the possibility of communication in different mother tongues. You can find more on each topic on her website: www.mjhartelova.com Contemporary Czech Art in Berlin: berlin.czechcentres.cz/de/projects/contemporary-czech-art-in-berlin

"I'll go and hold their hand with my hand by following their cursor with my cursor."   David Alpert is an artist and curator living and working in Kansas City. His curatorial work involves interaction, connection, and collaboration with others. His work is performative and driven by a desire to bring people together. The pandemic has been a unique challenge to David who is currently in the Curatorial Practice program at MICA. We talk about how he has continued to create collaborative work during the Covid shutdown. David was the finalist selection for the What is Your Reality in the Pandemic Era show created and hosted by friend of the show, Ajuan Song of the Orange Art Foundation and the finalist was awarded a spot on the Real Photo Show.   https://www.alpert.online   This episode is sponsored by the Charcoal Book Club, a monthly subscription service for photobook enthusiasts. Working with the most respected names in contemporary photography, Charcoal selects and delivers essential photobooks to a worldwide community of collectors. Each month, members receive a signed, first-edition monograph and an exclusive print to add to their collections. www.charcoalbookclub.com

In our very first episode, we're going to be speaking to Nahla Tabbaa Nahla is a supper club host, a culinary ethnographer and a voracious experimenter in the kitchen. Instagram - @NahlaTabbaa With a MA in Curatorial Practice from the Bath School of Art and Design, Her culinary practice combines her commitment to the slow-paced, labour intensive and meditative methods of preparing food In this episode, we discuss the 'new normal' across the dining-out scene and how she creates a social and cultural impact through her supper clubs and the food trails she hosts at Frying Pan Adventures! Connect With Us On: Instagram - @CauseKitchn Email- Rohadaudd@gmail.com Credits: Editing: Fraz Ajmal Nahla's Headshots By: Kathleen Hoare

Each city is its own ecosystem of artists, organizations, and revenue with particular notions of identity and value. For example, Austin is known as the music capital of Texas, but Houston boasts one of the largest & most diverse populations in the United States. Should a Houston musician move to Austin to capitalize on that reputation? Should any artist move to another city for the sake of their art? Artists can find success in either scenario dependent on several circumstances. We will have two guests to offer their experiences of moving to and/or staying in cities for their creative practice and succeeding as a result.Ashley DeHoyos is a cultural producer and educator born and raised in Baytown, TX. She received a BFA from Sam Houston State University (2013) and MFA in Curatorial Practice from Maryland Institute College of Art (2016). As of 2018, they have served as the Curator at DiverseWorks in Houston, TX, where they have organizes a full range of visual, performing, and public arts programming. Through their curatorial practice, Dehoyos is focused on creating cultural platforms with intersectional perspectives and speculative futures as they relate to history and the environment. Recent projects include the performance Jefferson Pinder: Fire & Movement; the 2019 Bayou City Be All LGBTQ+ performance festival; and the group exhibition Collective Presence. In addition to their role as curator at DiverseWorks DeHoyos also manages the Diverse Discourse and The Idea Fund, a regranting program co-adminsitrated by DiverseWorks, Aurora Picture Show, and Project Row Houses, supported by the Andy Warhol Foundation.Artist, Mario E. Figueroa, Jr., artistically known as GONZO247, was born and raised in Houston, Texas. He is a self-taught multidisciplinary artist with over 25 years of experience in street art, public, and private art commissions. Community involvement has been a considerable component of his activities as an artist. His experiences as a youth in the Houston community and his ancestors’ culture artistically inspire GONZO247. His early on admiration of the arts was the public art mural, The Rebirth of our Nationality (1973), by Leo Tanguma located in East End Houston, Texas, where he spent most of his childhood. He realized later on in life that the mural was the spark of his becoming a future artist. In his teens, he discovered and realized his artist identity through the visual language of Hip Hop, the graffiti art culture. The culture of Hip Hop was artistic expression by kids who were his age, and looked like him, more so than the examples he was being shown in school those days. He produced an Aerosol Warfare video series, established the Houston Wall of Fame in the 1990s (the city’s first and significant art production of its kind of that time), and has participated in projects working with top brand campaigns that speak to urban communities. He is known to be a key figure in pioneering the graffiti and street art culture as a leading underground art movement in Houston. Although he fully embraced, breathed, and participated in the Hip Hop culture, the primary element he practiced was graffiti art, and today he gives nod to his roots in his current works that have evolved overtime. In addition to public and private commissions, he strives to make time for independent studio work and on-going and longer-term collaborative endeavors through Aerosol Warfare, The Graffiti and Street Art Museum of Texas, and the Houston Urban Experience (HUE) Biennial Mural Festival. He continues to educate communities through civic art engagement, leading by example, and meaningful large-scale creative activities. Intro music: "Ike is Gone" by Nick Gaitan.Support the show (https://fresharts.org/about-fresh-arts/friends-of-fresh-arts/)

Georgina Pope is a Berlin based curator who started her career working at commercial galleries and project spaces in Sydney, Australia. She is currently a curator for Independent Collectors, a digital platform for art collectors and the largest non-commercial archive of private collections worldwide. Georgie also works as art mediator at The Bunker Berlin, a heritage listed World War II air-raid shelter and home to Karen and Christian Boros private collection of contemporary art.Completing the Curatorial Practice and Contemporary Arts course at the School for Curatorial Studies Venice in 2018 consolidated her previous art world experiences. This enabled her individual curatorial interests to become more focused on activation of art works; whether through education, presentation or other forms of audience engagement. Leading to an increased involvement with preformative art and the opportunities this experiential medium provides - not least of which includes the increased interest from art collectors who wish to support and be more involved in this recently institutionalised part of the art world and relative newcomer to the art market.Interview with Georgina Pope recorded by Michael Dooney on 12. May 2020 in Kreuzberg, Berlin.NOTESFull Episode Transcript (online soon)City of New Castle Art Gallery - Roland Pope art collectionGrantpirrie Gallery, SydneyArt and About, Public Art Festival Hyde Park Sydney.Jiri Georg DokoupilCO-LABThe Young Centenary FoundationCentenary Institute in SydneyKaren and Christian BorosNode Centre for Curatorial Studies BerlinA plus A Gallery, VeniceBreakfast Pavilion by M–L–XL & Luca Lo PintoSilent World plate by Rio Grande (ear plate)Venice School for Curatorial StudiesSacred Ground FestivalExgirlfriend Gallery BerlinFrom the Portfolio of Free WillIndependent CollectorsBMW Independent Art GuideA Performance AffairTomás SaracenoArachnophilia----more----GEORGIE POPEInstagramFacebookINDEPENDENT COLLECTORSHome PageInstagramFacebookTwitterVimeoTHE BUNKER | SAMMLUNG BOROSHome PageInstagramFacebookBunker #3 - Independent CollectorsSEBASTIAN DE LA LUZ (audio engineering)SoundcloudMICHAEL DOONEYHome PageInstagramFacebookTwitterYouTubeJARVIS DOONEY GALLERYHome PageInstagramFacebookTwitter

Visual artist Binta Oxossi Ayofemi creates urban forms inspired by black abstraction through sound, movement, and space. Her first building as artwork, COMMONS, opens in Oakland in 2020, in collaboration with renowned architect Bonnie Bridges of Studio BBA. Studio BBA transforms buildings with historic fragments into contemporary buildings. COMMONS began with Oxossi’s strategic cuts into the building as performance, next shaped as an opening or flow between form and function in dialogue with Studio BBA. The space transforms a formerly vacant music building in downtown Oakland, into a portal for gathering, sound, and sustenance. Inspired by both Black Panthers and Black Shakers, COMMONS infuses an Afrofuturist narrative with materials gathered, honed, and milled from Oakland. Recorded in January at UNTITLED, ART San Francisco 2020, Oxossi Ayofemi and Bonnie Bridges discussed the making of COMMONS, explored contemporary art, architecture, race, buildings, urban subjects and urban material. James Voorhies, Chair, Graduate Program in Curatorial Practice, California College of the Arts, moderated the conversation.

We discussed: Artist Bio is your background, Artist Statement is about the concept behind your art work, How galleries choose artists, In commercial galleries the need to use quality materials, Galleries look at your social media presence, Artist agents, How much to share on social media, Personal vs business accounts on instagram, The need to nature and grow relationships, Selling art through email newsletters, Everybody loves exclusivity, Should you put prices of your art online, Definitions of young artists, mid career artist, and established or professional artist, How to design an artist website, Doing art commissions, How to find your artistic style, The merits of abstract art, The role of an independent curator, How to build a mailing list, Podcasting, Creative block, Squadcast, and Leaning by mistakes http://curatoronthego.com/ https://www.instagram.com/curatoronthego/ https://www.facebook.com/curatoronthego/ http://curatoronthego.com/podcast/ https://www.kefiartgallery.com/ About Liza Zhurkovskaya, the founder of Curator on the Go, is a Toronto-based Art Curator. She has been working directly with galleries and artists since 2015 and has helped them thrive in the industry through media opportunities, exhibitions, and curatorial advice. In April 2020, she launched Kefi Art Gallery (www.kefiartgallery.com) - an online fine art gallery where she presents art from a curated roster of local and international artists working in a variety of mediums and art forms. Liza works with various local art businesses and artists and focuses on the business side of the industry, something that is not often discussed at art schools and that many people do not focus on enough. Liza's goal is to erase the trope of the “starving artist” and help artists set goals, find their voice, brand, and niche, and understand how to sell and price their artworks and services to collectors. Liza works to encourage and construct a more inclusive and sustainable art community in Toronto and around the world. Last year, she launched Curator on the Go Podcast as a platform for artists, art professionals, and other creatives to share their stories and work, and to learn from each other, and most importantly, to be inspired to pursue their dreams. Liza earned BA in Art History from the University of Toronto and MFA in Criticism & Curatorial Practice from OCAD University, Toronto.   Please be sure to visit our Patreon page and help support the podcast by being part of the conversation. The more money raised, the larger the global reach we can offer you: https://www.patreon.com/thewisefool For more information about the host, Matthew Dols http://www.matthewdols.com

We discussed: Artist Bio is your background, Artist Statement is about the concept behind your art work, How galleries choose artists, In commercial galleries the need to use quality materials, Galleries look at your social media presence, Artist agents, How much to share on social media, Personal vs business accounts on instagram, The need to nature and grow relationships, Selling art through email newsletters, Everybody loves exclusivity, Should you put prices of your art online, Definitions of young artists, mid career artist, and established or professional artist, How to design an artist website, Doing art commissions, How to find your artistic style, The merits of abstract art, The role of an independent curator, How to build a mailing list, Podcasting, Creative block, Squadcast, and Leaning by mistakes http://curatoronthego.com/ https://www.instagram.com/curatoronthego/ https://www.facebook.com/curatoronthego/ http://curatoronthego.com/podcast/ https://www.kefiartgallery.com/ About Liza Zhurkovskaya, the founder of Curator on the Go, is a Toronto-based Art Curator. She has been working directly with galleries and artists since 2015 and has helped them thrive in the industry through media opportunities, exhibitions, and curatorial advice. In April 2020, she launched Kefi Art Gallery (www.kefiartgallery.com) - an online fine art gallery where she presents art from a curated roster of local and international artists working in a variety of mediums and art forms. Liza works with various local art businesses and artists and focuses on the business side of the industry, something that is not often discussed at art schools and that many people do not focus on enough. Liza's goal is to erase the trope of the “starving artist” and help artists set goals, find their voice, brand, and niche, and understand how to sell and price their artworks and services to collectors. Liza works to encourage and construct a more inclusive and sustainable art community in Toronto and around the world. Last year, she launched Curator on the Go Podcast as a platform for artists, art professionals, and other creatives to share their stories and work, and to learn from each other, and most importantly, to be inspired to pursue their dreams. Liza earned BA in Art History from the University of Toronto and MFA in Criticism & Curatorial Practice from OCAD University, Toronto.   Please be sure to visit our Patreon page and help support the podcast by being part of the conversation. The more money raised, the larger the global reach we can offer you: https://www.patreon.com/thewisefool For more information about the host, Matthew Dols http://www.matthewdols.com

At UNTITLED, ART San Francisco 2020, Withersworldwide presented a lively conversation titled, "Fresh Perspectives on Collecting; What New Collectors Need to Know." Beginning the process of collecting art can often be challenging for new collectors. Listen to a distinguished panel of experts discuss methods and tips on building an art collection with topics that range from current market trends and art financing to conservation and art insurance. Panelists include Kimberly Almazan, Special Counsel at Withersworldwide and Chair of the San Francisco Bar Association’s Art Law Section, Sophia Kinell, Regional Lead for the San Francisco Bay Area at Phillips, and Paul Becker, Art Money Founder and CEO. James Voorhies, Chair, Graduate Program in Curatorial Practice, California College of the Arts, moderated the conversation, recorded on January 18, 2020.

Work. Shouldn't. Suck. LIVE: The Morning(ish) Show with special guest Deana Haggag. [Live show recorded: April 30, 2020.] DEANA HAGGAG is the President & CEO of Recess (http://recessart.org/) . She received her MFA in Curatorial Practice from the Maryland Institute College of Art and a BA from Rutgers University in Art History and Philosophy. She is proudly a first-generation Egyptian-American Muslim disabled woman of Afro-Arab descent. She currently lives in Chicago, Illinois and New York, New York.

Work. Shouldn't. Suck. LIVE: The Morning(ish) Show with special guest Christy Bolingbroke, Executive & Artistic Director, National Center for Choreography at The University of Akron. [Live show recorded: April 9, 2020.] CHRISTY BOLINGBROKE Following a national search, Christy Bolingbroke was named the first Executive & Artistic Director of the National Center for Choreography located at The University of Akron. In this role, she provides both artistic and administrative leadership for NCCAkron, building upon her extensive experience in curatorial programs and external relations. Christy came to NCCAkron from the San Francisco-based ODC (founded at Oberlin College in Ohio in 1971 as the Oberlin Dance Collective), where she served as the Deputy Director for Advancement. In that position she oversaw curation and performance programming, managed marketing and development campus-wide, directed a unique three-year artist in residence program for dance artists, and mentored emerging arts administrators. Christy was formerly the Director of Marketing for the Mark Morris Dance Group in Brooklyn where she increased touring ticket sales worldwide and activated Access/MMDG events in major hub cities nationally. The Access/MMDG program uses custom-tailored arts and humanities-based activities to deepen and enhance the audience experience. Bolingbroke has a B.A. in Dance from the University of California, Los Angeles, is a graduate of the DeVos Institute for Arts Management Fellowships Program (previously at the John F. Kennedy Center for the Performing Arts in Washington, DC), Arts & Business Council of New York’s Arts Leadership Institute, and holds a Master's Degree from the Institute for Curatorial Practice in Performance at Wesleyan University.

In this episode we speak about Adrienne’s powerful discovery of pole dancing, the complexity of sobriety and harm reduction, the experience of learning to love her body after struggling with body dysmorphia and disordered eating. Adrienne sees this body nourishment as an expression of connection to the land and a fuck you to colonialism. We talk about much more and I hope you enjoy our conversation. Adrienne you are such a warm and open person! Adrienne Huard is a Two-Spirit Anishinaabekwe born and raised in so-called Winnipeg, Manitoba and registered at Couchiching First Nations, Fort Frances, Ontario. Huard graduated from Concordia University in 2018 and is currently attending OCAD University’s graduate-level Criticism and Curatorial Practice program. She is on the planning committee for the upcoming Two-Spirit Pow Wow happening on May 30th in Winnipeg, Manitoba. It will take place during Canada Pride (a nationwide Pride celebration) and Adrienne is really looking forward to a high attendance this year. You can connect with Adrienne on instagram @adrienne_loon LITQB Podcast: This is a podcast about the barriers to embodiment and how our collective body stories can bring us back to ourselves. This is a podcast for people who identify as queer or for people who might think of their relationship between their body and confining social narratives as queer. This can feel like an isolating experience. Our wounded bodies need spaces to talk about struggles with nourishment/disordered eating, body image issues, dysphoria, racism, heterosexism, transphobia, xenophobia, substance use/abuse, chronic pain/disability, body changes in parenthood, intergenerational trauma, the medical/wellness/therapy industrial complex and its lack of inclusion of queer bodies and much more. Hopefully this podcast can illustrate the connections, and resonant pain points, that we have with one another. Livinginthisqueerbody.com @livinginthisqueerbody The Host: Asher Pandjiris Psychotherapist/ Podcaster/ Group Facilitator SUPPORT https://www.patreon.com/livinginthisqueerbody Music: Ethan Philbrick and Helen Messineo-Pandjiris --- Send in a voice message: https://anchor.fm/asher-pandjiris/message

With decades of experience as an arts administrator, curator, and educator Christopher Barake is the Deputy Director for the Doral Contemporary Art Museum - DORCAM. He is co-founder of Art Industry Movement and was curator at KER Art + Design Gallery and ConcreteSpace. Barake is also an academic administrator for the Department of Art + Art History at Florida International University. He began his career at FIU in 2007 where his previous duties include coordinating an artist-in-residency program and community-based collaboratory art projects. He earned his Master of Fine Arts in Curatorial Practice, along with a Bachelors of Fine Arts in Sculpture, and Graduate Certificate in Museum Studies from Florida International University. www.dorcam.org

Today, we take you to Toronto. We’re here to meet a group of graduate students at the Ontario College of Art and Design University, also known as OCAD. For the Intro to Curatorial Practices course, their goal is to research, develop and activate an exhibition in the digital realm. Recorded in the first weeks of the semester, our conversation reveals how the students are defining their roles and designing their strategy for curating an online platform.  In the months following our campus visit, the students forged an interdisciplinary curatorial collective. In December 2019, they launched the exhibition titled connection_found. Online now, works by seven artists illustrate the quirks of navigating intimacy on the web. “At the core of the exhibition,” writes the collective on their website, “connection_found simultaneously expands, individuates, and links the collective experience of existing on the internet.” OCAD University—Curating in the Digital Realm is one of our 2020 Student Edition episodes. Sound Editor: Anamnesis Audio | Photography: FreshArtINTL Related Episodes: SAIC—Imagining Tomorrow, Wayne State—Designing for Urban Mobility Related Links: Criticism and Curatorial Practice Program, Ontario College of Art and Design University, connection_found Intro to Curatorial Practices, a graduate seminar in the Criticism and Curatorial Program at OCAD University, introduces students to the major critical texts, theories and debates in the burgeoning international field of contemporary curatorial studies. Simultaneously throughout the seminar, students attend public exhibitions, screenings, lectures, performances and events in Toronto's visual art and design worlds. An ongoing examination of contemporary art and design practices within public culture provides students with an eclectic and critical mapping of the layers and intersections of the visual arts, media and design in relation to their varied publics, audiences, markets, the mass media and the scholarly community.  connection_found is an online group exhibition organized by feelSpace featuring works by Ronnie Clarke, Taylor Jolin, Leia Kook-Chun, Madeleine Lychek and Paula Tovar, Noelle Wharton-Ayer, and Becca Wijshijer. Together, these works trace and re-trace digital intimacy, touch, and the body as it moves and navigates towards the virtual realm. More literally, connection_found suggests the curatorial alignment of these works in a digital context which, in and of itself, requires finding connection. Source: feelspace.cargo.site. Andrea Fatona, Associate Professor, Faculty of Art and Graduate Program Director, Criticism and Curatorial Practice, is an active curator. Her areas of focus are culture, cultural policy formation, cultural production, nation making, citizenship and multiculturalisms. In the classroom, she engages students in thinking about issues around equity and diversity in the context of art. The Student Edition began in 2019, with visits to art schools and universities in the United States and Canada, where we began recording voices of the future. In 2020, we present the first episodes in our Student Edition—conversations about creativity with emerging makers and producers. Given opportunities to explore and experiment, students are discovering how they can shape the world they live in. What issues and ideas spark their creative impulse?

Recorded live at UNTITLED, ART San Francisco 2020, textile artist Kira Dominguez Hultgren and Charlie Sutton, Head of Design for the Facebook App, discussed how ancient analog processes like weaving relate to new immersive technologies like virtual reality, and how both can address ideas of human connection and isolation. In creating an empathic user experience, what is the relationship between designing with physical materials versus virtual means? What does it mean for both analog and virtual creators to design outside the traditional rectilinear, two-dimensional frame? How do traditional collective activities like weaving connect with current advances in the game mechanics of virtual worlds? What role do these practices play in the service of amplifying human agency and providing spaces for authentic connection and discovery? James Voorhies, Chair, Graduate Program in Curatorial Practice, California College of the Arts, moderated the conversation.

At UNTITLED, ART San Francisco, Leigh Raiford, Associate Professor of African American Studies at the University of California, Berkeley, conversed with gallerist Michael Rosenfeld to discuss Michael Rosenfeld Gallery's curated presentation of artists exhibited in "Soul of a Nation: Art in the Age of Black Power 1963–1983." The gallery's booth presentation at UNTITLED, ART San Francisco will included works by such seminal artists as Frank Bowling, Ed Clark, Sam Gilliam, Jacob Lawrence, Norman Lewis, Betye Saar, and William T. Williams, among others. The conversation ranges in topics, from the prominence of abstraction in Soul of a Nation, the place of Africa in African American art, and the gallery's long history exhibiting Black artists as well as the "discovery" of many older Black artists in today's contemporary artworld. James Voorhies, Chair, Graduate Program in Curatorial Practice, California College of the Arts, moderated the conversation.

Yelena Rachitsky, Executive Producer of Experiences at Oculus, and Kelly Sicat, the director of the Artistic Program and Lucas Artists Residency Program at Montalvo Arts Center, discussed how cultural producers working with both virtual and analog technologies are addressing the so-called “loneliness epidemic” by creating space for authentic empathic connections. Through the yearlong initiative SOCIAL: Investigating Loneliness Together, Montalvo brings together artists who are investigating how to foster social engagement in an age where social media both connects and isolates people. Oculus's recent project Traveling While Black is a virtual reality documentary that immerses the viewer in the long history of restricted movement for Black Americans. James Voorhies, Chair, Graduate Program in Curatorial Practice, California College of the Arts, moderated the conversation.

This week’s podcast was recorded at BookFest Windsor 2019. Today, we’ll talk with Ben O’Neil and Jessica Bromley Bartram. Illustrator, artist, and screenwriter Ben O’Neil is currently based in Toronto, but was born and raised in London. He counts Matt Groening (The Simpsons) and Greg Capullo (Spawn) among his influences. It wasn’t until Ben attended OCAD for Curatorial Practice and Art Criticism that he rediscovered comic illustration. From there, Ben began self-publishing comics and zines. He also works as a freelance illustrator. His book, Apologetica is described as a sign of the times, a letter of regret, a feeble attempt, a collection of comics dealing with guilt, shame, martyrdom, jaguars, bad meat and fashion.Jessica Bromley Bartram is an illustrator, and graphic designer who lives in Ottawa. Her collection of illustrated short stories, Ghost Water Kiss, published in 2019 by Popnoir Editions. She has illustrated two picture books for Fitzhenry & Whiteside, Charles, published in 2018, and Summer North Coming.She has a BA in English and History from the University of Guelph (2003-2007) and a second Bachelor’s degree in Graphic Design from the Ontario College of Art & Design (2010-2015), where she won the Graphic Design Medal for her final thesis project at the 2015 Graduate Exhibition.Both authors are with POPNOIR EDITIONS, a publisher of graphic novels based in Toronto. Together, they led an awesome workshop on Graphic Storytelling, and then they stopped by to talk about their own personal work. http://popnoir.ca/https://www.benoneil.com/http://jessicabartram.ca/about/

Naz Cuguoğlu is a curator and art writer, based in San Francisco Bay Area and Istanbul. She is the co-founder of “Collective Çukurcuma,” experimenting with collaborative thinking processes through its reading group meetings and international collaborative exhibitions. She currently works as Americas Collection Fellow at KADIST and held various positions at The Wattis Institute, SFMOMA Public Knowledge, Zilberman Gallery, Maumau Art Residency, and Mixer. Her writings have been featured in SFMOMA Open Space, Art Asia Pacific, Hyperallergic, Art South Africa, M-est.org, and elsewhere. She received her BA in Psychology and MA in Social Psychology focusing on cultural studies, and currently enrolled at the Graduate Program in Curatorial Practice at California College of the Arts with a fellowship. Cuguoğlu has curated exhibitions at fused space (San Francisco, 2019), Playspace (San Francisco, 2019), D21 Kunstraum Leipzig (2018), Red Bull Art Around Istanbul (2018), Zilberman Gallery (Istanbul, 2018), Public Program of 15th Istanbul Biennial (2017), Framer Framed (Amsterdam, 2017), Cultural Transit Foundation (Yekaterinburg, 2017), Space Debris (Istanbul, 2017), COOP Gallery (Nashville, 2016), Mixer (Istanbul, 2016), and 5533 (Istanbul, 2015). She co-edited two books: After Alexandria, the Flood and Between Places, and presented at institutions such as Joan Mitchell Foundation, SALT, Norköpping Art Museum, Contemporary Art Center (New Orleans) and Curb Event Center (Nashville). The Book mentioned in the interview is titles Staying With The Trouble by Donna J. Haraway. Istanbul Queer Art Collective’s performance Psychic Bibliophiles, from Flow Out exhibition curated by Collective Çukurcuma at Bilsart (Istanbul, 2019) Collective Çukurcuma Reading Group meeting as part of House of Wisdom exhibition, presented at the public program of the 15th Istanbul Biennial (2015)

James Voorhies is a curator, art historian, writer, and educator. James is currently the chair of the Graduate Program in Curatorial Practice and a professor of fine arts at California College of Arts. He’s the director of the Curatorial Research Bureau, a bookshop, learning site, and exhibition space in San Francisco and is the author of Beyond Objecthood: The Exhibition as a Critical Form since 1968. In this episode, Jarrett and James talk about curation as a mix of mediation, caretaking, and administration, institutional critique, and how to balance teaching theory and practice in creative disciplines. Links from this episode can be found at scratchingthesurface.fm.

Peachy Keen spent the morning at home talking art over coffee and pound cake with visiting curator, Rachel Reese. The kind of person that graduates from college ahead of schedule (3 ½ years, y’all!), Reese amassed an impressive resume of arts-related positions before landing in her current gig as Curator of Modern and Contemporary Art at Telfair Museums in Savannah.An Atlanta native, she shares some insights from her time at BURNAWAY and the Atlanta Contemporary. (Why would a digital art magazine want to do a print edition? Where did Sliver Space come from? This is your chance to find out.)We break down how Reese’s remarkable experiences working for big-name galleries like Deitch Projects in New York and Fleisher/Ollman in Philadelphia have translated (or not) into her career down South, share a few laughs at the expense of our well-meaning thrift store art shopping moms, and get the low down on the ins and outs of being a curator for the oldest public art museum in the South.

Jaamil Olawale Kosoko is a Nigerian American poet, curator, and performance artist originally from Detroit, MI. He is a 2017-2019 Princeton Arts Fellow, a 2018 NEFA National Dance Project Award recipient, a 2018-20 New York Live Arts Live Feed Artist-in-Residence, a 2019 Gibney DiP Artist-in-Residence, a 2017 Jerome Foundation Artist-in-Residence at Abrons Arts Center, a 2017 Cave Canem Poetry Fellow, a 2016 Gibney Dance boo-koo resident artist, and a recipient of a 2016 USArtists International Award from the Mid-Atlantic Arts Foundation. His previous work #negrophobia (premiered September 2015, Gibney Dance Center) was nominated for a 2016 Bessie Award and has toured throughout Europe having appeared in major festivals including Moving in November (Finland), TakeMeSomewhere (UK), SICK! (UK), Tanz im August (Berlin), Oslo Internasjonale Teaterfestival (Norway), Zurich MOVES! (Switzerland), Beursschouwburg (Belgium) and Spielart Festival (Munich). His current work, Séancers, premiered at Abrons Arts Center in December 2017 and has toured nationally and internationally to critical acclaim. Recent highlights include Mousonturm (Frankfurt, DE), FringeArts (Philadelphia, PA), Sophiensaele (Berlin, DE), and the Wexner Center (Columbus, OH). In 2019, Séancers will have engagements at the Fusebox Festival (Austin, TX) and Montréal Arts Interculturels (Montréal, CA), among others.American performance venues include: Abrons Arts Center, Joyce SoHo, DTW, FringeArts, Dixon Place, Dance Theater Workshop, Bennington College, Danspace at St. Mark’s Church, the CEC Meeting House Theater, Wexner Center for the Arts, Kelly Strayhorn Theater, LAX Festival, Miami Theater Center, Art Basel Miami, and the Painted Bride Arts Center, among others.He was a Co-Curator of the 2015 Movement Research Spring Festival and the 2015 Dancing While Black performance series at BAAD in the Bronx; a contributing correspondent for Dance Journal (PHL), the Broad Street Review (PHL), and Critical Correspondence (NYC); a 2012 Live Arts Brewery Fellow as a part of the Philadelphia Live Arts Festival; a 2011 Fellow as a part of the DeVos Institute of Art Management at the John F. Kennedy Center for the Performing Arts; and an inaugural graduate member of the Institute for Curatorial Practice in Performance (ICPP) at Wesleyan University where he earned his MA in Curatorial Studies.His work in performance is rooted in a creative mission to push history forward through writing and art making and advocacy. Kosoko’s work in live performance has received support from The Pew Center for Arts and Heritage through Dance Advance, The Philadelphia Cultural Management Initiative, The Joyce Theater Foundation, and The Philadelphia Cultural Fund. His breakout solo performance work entitled other.explicit.body. premiered at Harlem Stage in April 2012 and went on to tour nationally. As a performer, Kosoko has created original roles in the performance works of Nick Cave, Pig Iron Theatre Company, Keely Garfield Dance, Miguel Gutierrez and The Powerful People, and Headlong Dance Theater, among others. In addition, creative consultant and/or performer credits include: Terry Creach, Lisa Kraus, Kate Watson-Wallace/anonymous bodies, Leah Stein Dance Company, Emergent Improvisation Ensemble, and Faustin Linyekula and Les Studios Kabako (The Democratic Republic of Congo).Kosoko’s poems can be found in such publications as The American Poetry Review, Poems Against War, The Dunes Review, and Silo. In 2009, he published he chapbook, Animal in Cyberspace, and, in 2011, he published his own collection, Notes on an Urban Kill-Floor: Poems for Detroit (Old City Publishing). Publications include: The American Poetry Review, The Dunes Review, The Interlochen Review, The Broad Street Review, Silo Literary and Visual Arts Magazine.Kosoko has served on numerous curatorial and funding panels including the Brooklyn Arts Council, the National Endowment for the Arts, MAP Fund, Movement Research at the Judson Church, the Philadelphia Cultural Fund, and the Baker Artists Awards, among others. In 2014, Kosoko joined the Board of Directors for Dance/USA, the national service organization for dance professionals. He is also a founding advisory board member for the Coalition for Diasporan Scholars Moving.He has held producing and curatorial positions at New York Live Arts, 651 Arts, and The Watermill Center among others. He continues to guest teach, speak, and lecture internationally.

Director of Education Debbie Hillyerd leading a tour of 'Phyllida Barlow. Gig', Hauser & Wirth Somerset Debbie joined Hauser & Wirth Somerset from Bath Spa University where, since 2004, she worked as an Associate Lecturer teaching Critical Studies, Fine Art and Curatorial Practice. This is the second interview, the first one with her can be heard by clicking here. Debbie also taught Visual Culture and Fine Art at the University of West of England, Bristol, Northbrook College, Brighton and Loughborough University. She has a PDSA ICT in Art & Design Education (MEd), an MA in History of Art & Architecture from the University of Central England and a BA (Hons) Fine Art Painting from Bath College of Higher Education. In addition to her teaching roles, Debbie has written on artist's practice and provided consultancy to many other institutions across the education sector. She lives in Somerset with her husband, who is a headteacher and has three children. Mary McCartney Open Source Salon at Hauser & Wirth Somerset, September 2018. Photo: Ben Taylor, Courtesy Hauser & Wirth Somerset OS_Viv Groskop, Open Source Salon at Hauser & Wirth Somerset, December 2018. Photo: Ben Taylor, Courtesy Hauser & Wirth Somerset

This forum considers the role of the curator in relation to Indigenous artists and communities, and address some of the challenges and recent trends in curating Indigenous art today, as well as what the future might look like for Indigenous art and curatorial practice in Australia and internationally. Convened by Hannah Presley, Curator, Australian Centre for Contemporary Art, Melbourne Guest speakers: Tina Baum, Curator of Aboriginal and Torres Strait Islander Art, National Gallery of Australia, Canberra Bruce McLean, Curator of Indigenous Australian Art at the Queensland Art Gallery | Gallery of Modern Art, Brisbane Coby Edgar, Assistant Curator of Aboriginal and Torres Strait Islander art, Art gallery of New South Wales, Sydney; This event was recorded on Monday 27 August 2018 Resources: https://acca.melbourne/exhibition/a-lightness-of-spirit-is-the-measure-of-happiness/ https://acca.melbourne/program/indigenous-art-and-curatorial-practice/

Since the 1960s, artists have been critically examining the practices of museums, at times critiquing the idea of what a museum is and how it presents its stories. One of the most influential exhibitions of Institutional Critique was Mining the Museum–an installation by artist Fred Wilson at the Maryland Historical Society, in collaboration with The Contemporary. In this episode–made 25 years after Mining the Museum–the Punks explore the role outsiders such as artists and external consultants play in driving creative change and innovation within museum practice. What can outsiders do within the institution that permanent staff cannot? What are the limitations they face? And how does a reliance on external talent impact the sustainability of progress in the museums they work with? GUESTS: George Ciscle has mounted groundbreaking exhibitions, created community arts programs, and taught fine arts and humanities courses for close to 50 years. He trained as a sculptor, studying with Isamu Noguchi. For 15 years he developed high school interdisciplinary curriculum and work-study programs for the emotionally disadvantaged. In 1985, he opened the George Ciscle Gallery where he promoted the careers of young and emerging artists. From 1989-1996 Ciscle was the founder and director of The Contemporary, an “un-museum,” which challenges existing conventions for exhibiting art in non-traditional sites focusing its exhibitions and outreach on connecting artists’ works with people’s everyday lives. From 1997-2017, as Curator-in-Residence at Maryland Institute College of Art, he continued to develop new models for connecting art, artists, and audiences by creating the Exhibition Development Seminar, Curatorial Studies Concentration and the MFA in Curatorial Practice. Jen Brown is the Founder and Artistic Director of The Engaging Educator. Through EE, her pedagogical approach of Improv as Continuing Education has reached over 25,000 people – all non-actors! Since 2012, Jen has given three TEDx Talks on the power of Improv, grown EE to three locations in NYC, Winston-Salem, NC and LA, and recently began The Engaging Educator Foundation, a 501(c)(3) which offers free and low-cost Improv workshops for educators, at-risk adults, teens and students on the Autism Spectrum. Jen holds degrees and accreditation from Marquette University, City College of New York, St. Joseph’s University and Second City. -- Museopunks is presented by the American Alliance of Museums. Website: Museopunks.org Twitter: @museopunks

This week Bad at Sports Center is joined by Deana Haggag! The newly appointed President and CEO of United States Artists! From Deana Haggag's site... Deana Haggag is the President & CEO of United States Artists, a national arts funding organization based in Chicago, IL. Before joining USA in February 2017, she was the Executive Director of The Contemporary, a nomadic and non-collecting art museum in Baltimore, MD, for four years. In addition to her leadership roles, Deana lectures extensively, consults on various art initiatives, contributes to cultural publications, and has taught at institutions such as Towson University and Johns Hopkins University. She is on the Advisory Board of Recess and Council of Common Field, and has served as a member of the Affiliates Board for the Museums and Society Program at Johns Hopkins University and StageOne/FANS council at the Baltimore School for the Arts. She received her MFA in Curatorial Practice from the Maryland Institute College of Art and a BA from Rutgers University in Art History and Philosophy.   She is proudly a first-generation Egyptian-American Muslim woman of Afro-Arab descent. She currently lives between Chicago and Baltimore.  

Monash University Museum of Art (MUMA) in association with Brisbane’s Institute of Modern Art (IMA) and Curatorial Practice at Monash Art Design and Architecture (MADA) were pleased to present a special lecture at MPavilion by visiting international curator and writer, Tirdad Zolghadr. Tirdad Zolghadr is a curator and writer. He is the associate curator at KW Institute for Contemporary Art, Berlin, director of the Summer Academy Paul Klee in Bern, and teaches at the Dutch Art Institute in Arnhem. His most recent book is Traction, published by Sternberg Press 2016. About ‘The Artist as Quarry’: Artists are always falling prey to something or other. Censorship, curators, bad lighting, jet lag, bigotry, cultural prejudice, institutions in particular and The Institution At Large. Never are they complicit in any of these things. The goal of this lecture was not to trace examples of when victimisation is real or imagined. The aim, rather, is to trace the role and political rationale of self-marginalisation within the moral economy of contemporary art. The goal of this exercise, in turn, was to speculate as to how this rationale might be translated into a more meaningful professional identity, with more tangible political traction, over time. Tirdad Zolghadr’s lecture is part of ‘The Artist As…’, a year-long lecture series co-presented by the IMA and Curatorial Practice at MADA. The series examines the ways artists move through the world and how that movement might involve adopting other roles to pursue a project, a position, a politic, or a practice. For any given project the artist may act as architect, as ethnographer, as archivist, as producer, as curator, as activist, as choreographer, and so on. ‘The Artist As…’ also recognises that many artists come to their practice as experts in other fields, bringing with them specialist knowledge that informs and shapes their work. Following the lecture Tara McDowell, Associate Professor and Director of Curatorial Practice at Monash University, will lead a Q&A session. This event is proudly supported by The Saturday Paper.

In the fifth lecture in our 'The Artist As…' series, co-presented with Curatorial Practice at Monash Art Design and Architecture, Brook Andrew reflects on his collaborations and interventions in museums both in Australia and internationally. Andrew examines the important role his own extensive archive plays within these works, and what led him to collect in the first place. 13/09/2016

In the fourth lecture in our year-long series 'The Artist As…' co-presented with Curatorial Practice at Monash Art Design and Architecture, Associate Professor Tara McDowell will focus on the ‘artist as initiator’. 24/08/2016

'The Artist As…' is a year-long lecture series co-presented with Curatorial Practice at MADA (Monash Art Design and Architecture), Melbourne, examining the multitude of roles artists occupy and adapt today. This talk is presented in partnership with the 20th Biennale of Sydney, and was made possible with generous assistance from the Nelson Meers Foundation. Sydney-born, Berlin-based artist Adam Linder is a also choreographer and dancer. His continuing series Choreographic Services (2013-ongoing) have been commissioned, presented, and hired by HAU Hebbel-am-Ufer Berlin, Institute of Contemporary Art London, Museum of Contemporary Art Los Angeles, Museum of Modern Art Warsaw, American Realness NYC, Kampnagel Hamburg, and Frieze LIVE London, amongst other engagements. 10/03/2016

'The Artist As…' is a year-long lecture series co-presented with Curatorial Practice at MADA (Monash Art Design and Architecture), Melbourne, examining the multitude of roles artists occupy and adapt today. Céline Condorelli is an artist living and working in London and Milan; she is the author and editor of Support Structures, Sternberg Press (2009), and one of the founding directors of Eastside Projects, Birmingham. She is currently Professor at NABA (Nuova Accademia di Belle Arti) Milan. The work of Condorelli is fundamentally informed by architecture, a discipline in which the artist holds numerous degrees, including a PhD from Goldsmiths College in London. 01/03/2016

Melani N. Douglass is the Community Engagement Manager for Everyman Theatre - host of the Capacity Building Workshop presented by the US Department of Housing and Urban Development. She was introduced to Everyman Theatre during her tenure as an Urban Arts Leadership Fellow while obtaining her MFA in Curatorial Practice from the Maryland Institute and College of Art. Douglass is also the founder of the Family Arts Museum - a nomadic, non-collecting institution that focuses on family as fine art, home as curated space and community as gallery. Her exhibition, Love on the Line: Stories of  a Baltimore Worth Living For was name as Best Pop-Up for Baltimore Magazine's 2015 Best of Baltimore list.  HUD Grant Writing and Capacity Building Training Wed, August 5, 2015 http://www.hud.gov/emarc/index.cfm?fuseaction=emar.registerEvent&eventId=2518&update=N Melani N. Douglass Urban Arts Leadership Program Fellow Education Department Everyman Theatre Baltimore, MD 21201 443.615.7055 x7133 www.everymantheatre.org  

How can an artist get funded when they are not producing acommercial product? And what if they are a student or or are doingsmall scale projects? What can the arts world learn from microgranters?Have we underestimated the power of putting a small amount of money inhighly-creative hands? Today we are joined by Marissa Neave, an emerging writerand curator studying Criticism and Curatorial Practice at the OntarioCollege of Art and Design whosethesis project tinygrants is an experiment inmicrofunding for the arts — specifically artist performing creativeinterventions in Toronto, Ontario. As always, wewelcome call-in questions at(347) 855-8744. Also mentioned on the show: • East Bay writer, artist andteacher elizaBethBenson-Udom is offering "writing your way,"group and one-to-one support for writers and wannabes. 510-809-5210. • Leave a message on God's AnsweringMachine: 800-871-9012 x 3176632#. Say what you willand pass it on. :: Photo "The Meaning of Love isWritten on a Business Card" above by ThePocketology Collective::

How can an artist get funded when they are not producing acommercial product? And what if they are a student or or are doingsmall scale projects? What can the arts world learn from microgranters?Have we underestimated the power of putting a small amount of money inhighly-creative hands? Today we are joined by Marissa Neave, an emerging writerand curator studying Criticism and Curatorial Practice at the OntarioCollege of Art and Design whosethesis project tinygrants is an experiment inmicrofunding for the arts — specifically artist performing creativeinterventions in Toronto, Ontario. As always, wewelcome call-in questions at(347) 855-8744. Also mentioned on the show: • East Bay writer, artist andteacher elizaBethBenson-Udom is offering "writing your way,"group and one-to-one support for writers and wannabes. 510-809-5210. • Leave a message on God's AnsweringMachine: 800-871-9012 x 3176632#. Say what you willand pass it on. :: Photo "The Meaning of Love isWritten on a Business Card" above by ThePocketology Collective::