From December 2021 through February 2022, with the support of the Emily Hall Tremaine Foundation, Hyperallergic selected five curators for monthlong fellowships to help demystify the work they do and reveal what goes into their curatorial practice. Each Fellow received a $5,000 grant to create an email exhibition for Hyperallergic subscribers, write articles related to their research, and present and discuss their exhibition during an online event.
Kiowa Tribal Museum Director Tahnee Ahtone explored how curation for a Native American community connects to the realities of Native sovereignty, and why it is crucial to include tribal governments when engaging with historical and artistic material related to their communities. In her email exhibition, she treated readers to an exclusive viewing of the Kiowa Tribe’s educational murals, the first time they’ve been presented outside the tribe for the public. View the exhibition and video presentation.
Cultural organizer and curator La Tanya S. Autry wrote about her curatorial project Beholding, Black World Making, which delves into how Black people defy ongoing precarity while loving one another through modes rooted in Black liberation and anti-colonial pedagogies. Her email exhibition featured behind-the-scenes notes on the project’s development alongside work by artist Sheila Pree Bright. View the exhibition and video presentation.
Frederica Simmons discussed “conscious curation” while researching the life and work of Bessie Harvey, a self-taught artist from the Black American South who created mixed-media assemblages from materials located in the woods surrounding her home. Simmons’s intimate email exhibition showcased a selection of Harvey’s art, focusing on how she infused her work with complex ideas about humanity, racism, and religion while maintaining her contemporary identity. View the exhibition and video presentation.
Dan Cameron used his grant to return to Chiloé, an island off the coast of Chile that he has visited for nearly a decade to test out unexplored possibilities for locating, nurturing, and presenting art. He shared his thoughts on the island’s curatorial allure and how his process has evolved as a result of building a relationship with Chiloé and its people, featuring pieces by a variety of local artists in his email exhibition. View the exhibition and video presentation.
Artist and curator Jeremy Dennis discussed the art-historical legacy of the Shinnecock Indian Nation, of which he is an enrolled member. His email exhibition surveyed the past and present of the Nation’s long-standing presence on what is now known as Southampton Village on Long Island, New York, and highlighted work from Outcropping — Indigenous Art Now, the group show he curated for the Southampton Arts Center in the spring of 2022. View the exhibition and video presentation.
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Rhode Island School of Design opens registration for its residential summer Pre-College program and year-round online intensive Advanced Program Online.
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Astrid Dick was told that she could not paint stripes because Sean Scully and Frank Stella have done so before her, a patently foolish statement.