Based in New York, No Longer Empty is a nonprofit that engages unique spaces and local communities through art. Among its many projects, the NLE Curatorial Lab (NLE Lab) is a professional development program for emerging curators and arts professionals interested in direct experience curating in an expanded field.
This fall, the NLE Lab is partnering with York College Fine Arts Gallery on the inaugural Southeast Queens Biennial, which will take place in Jamaica, Queens. The conceptual framework of the biennial is southeast Queens itself. Its diverse voices and artistic and cultural ties to the local and global community will become central to the experience of the Southeast Queens Biennial.
Applications are currently open to participate in co-curating this new biennial. NLE Lab seeks applicants who wish to deepen their curatorial practice and contribute to No Longer Empty’s mission of curating site-responsive and community-centered exhibitions. Local, national, and international candidates are all welcome to apply.
With a focus on research, project-based learning, and collaboration, NLE Lab is designed to deepen an understanding of the development of exhibitions and related programming within a distinctly urban setting. The program includes a curriculum of critical readings, guest speakers, site/historical research, studio/exhibition visits, and incorporates community engagement as a fundamental component in the formation of curatorial themes. The 2017 session will be led by Rachel Gugelberger, NLE Curator and Director of NLE Lab.
The application for the 2017 Fall NLE Lab can be found on nolongerempty.org.
From art fairs to alternative spaces that may not be on your radar, here’s a run-down of what to see (and eat and sip) in Miami. No NFTs, we promise.
Protests are erupting across the country in response to President Xi Jinping’s strict zero-COVID policy.
Join the New-York Historical Society on December 9 for a virtual conversation with Kellie Jones, Rujeko Hockley, and Cameron Shaw on the past, present, and future of Black art in the US.
What does it mean when the world’s richest person trolls us?
Ghenie’s paintings of Marilyn Monroe are a relentless representation of a howling, turbulent tragedy, a face broken into crude sideways slewings and gougings and gorgings of paint.
The unique MFASA at the Institute of American Indian Arts offers mentorships with world-renowned Indigenous artists, flexible schedules, and access to one of the US’s cultural capitals.
What feels like the right way to write about Roman Catholicism, or Christian iconography, to most art critics is heavily influenced by museum discourse, which is far from neutral.
A group exhibition at the Americas Society investigates ideas of paradise, approaching the Caribbean region as a product of the visitor economy regime.
Visual artists who incorporate psychedelics into their practices maintain a foundational understanding that there is more to reality than meets the eye.
Many in the local Ukrainian community want the museum’s name to be changed to reflect the many artworks in its collection by artists from former Soviet states.