Independent Curators International (ICI) supports the work of curators to help create stronger art communities through experimentation, collaboration, and international engagement. Curators are arts community leaders and organizers who champion artistic practice; build essential infrastructures and institutions; and generate public engagement with art. Our collaborative programs connect curators across generations, and across social, political and cultural borders. They form an international framework for sharing knowledge and resources — promoting cultural exchange, access to art, and public awareness for the curator’s role.
Nina Felshin, formerly a curator at Wesleyan University’s Zilkha Gallery, The Contemporary Art Center in Cincinnnati and the Corcoran Gallery of Art in Washington, DC, is an independent curator, writer, and activist. She is the editor of But Is It Art?: The Spirit of Art as Activism and the author of numerous articles and catalog essays. Felshin’s past exhibitions include, in addition to the five she curated for ICI, Black and Blue: Examining Police Violence; Disasters of War: From Goya to Golub; Global Warning: Artists and Climate Change; and Framing and Being Framed: The Uses of Documentary Photography.
The bed, site of some of our most psychologically charged experiences, is also a quintessential symbol of intimacy and sexuality. In Embedded Metaphor, artists explore both the poetry and anxiety inherent in this emblematic object.read more »
Empty Dress: Clothing as Surrogate in Recent Art focuses on the use of clothing in art as a means of investigating issues of cultural and sexual difference, in particular the construction of gender including gender stereotypes, the instability of gendered identity, and the fluidity of gender boundariesread more »
Humor can be a powerful tool in the hands of both political reactionaries and progressives. The artists in this exhibition use humor subversively, as a means of undermining the dominant order or critiquing the status quo. It also offers a means of addressing social, political, and cultural issues without abandoning art for polemics or propaganda.read more »
All the works in The Presence of Absence require the participation of others to be executed. Several go one step further, obliging the spectator to participate, perceptually and physically, in the creation of the work – in effect, to produce its meaning.read more »
Verbally Charged Images demonstrates how text can be used to alter one’s perception or preconceptions of the visual image by providing a subjective framework, thus reversing the traditional image-text relationship in which the image illustrates the text. Although the mode of rhetoric varies from work to work, as does the location of the text in relation to image, text in these works “charges” the image as the title suggests, pointing to the artist’s conceptual intentions. The text, it must be emphasized, never simply describes, illustrates, or functions congruently with the image.read more »