2016 Curatorial Intensive in New Orleans: Public Symposium

2016 Curatorial Intensive in New Orleans: Public Symposium
Saturday, March 26, 2016

Contemporary Arts Center New Orleans (CAC)
900 Camp Street
New Orleans, LA 70130
FREE and open to the public

The Curatorial Intensive participants for the 2016 New Orleans program will each present their exhibition and project proposals they have developed throughout the course of the week.

Symposium Schedule
Welcome and Session 1: 10:00–11:30am
Break: 11:30–11:45am
Session 2: 11:45 am–1:15pm

The Curatorial Intensive is a weeklong professional development program which brings together emerging curators for the opportunity to exchange ideas, develop their curatorial practice, and learn from their colleagues. Please see the program details for more information.

Participants include: Rachel Adams (Buffalo, NY), Lucy Ainsworth (Sydney, Australia), Katherine Finerty (London, UK), Allison Glenn (Chicago, IL), Ross Jordan (Chicago, IL), Ingrid LaFleur (Detroit, MI), Lynnette Miranda (Brooklyn, NY), Lydia Y. Nichols (New Orleans, LA), Larry Ossei-Mensah (New York, NY), Arnaldo Rodríguez-Bagué (San Juan, Puerto Rico), Anthony Stepter (Chicago, IL), and Charlie Tatum (New Orleans, LA).

This event is free and open to the public, though seating is limited. Please RSVP to .(JavaScript must be enabled to view this email address) with SYMPOSIUM in the subject line.

March 26, 2016

Contemporary Arts Center New Orleans (CAC)
900 Camp Street
New Orleans, LA 70130


Rachel Adams

Rachel Adams is the Chief Curator and Director of Programs at the Bemis Center for Contemporary Arts. Past curatorial appointments include Senior Curator at UB Art Galleries, Curator-in-Residence at Disjecta Contemporary Art Center and Associate Curator at Arthouse at the Jones Center (now The Contemporary Austin). Adams holds an MA in Exhibition and Museum Studies from SFAI and a BFA from SAIC. Her areas of research are varied but include a focus on the crossover between contemporary art and architecture, performance and video and new media practices. Select exhibitions include All Together, Amongst Many: Reflections on Empathy, Paul Mpagi Sepuya: Drop Scene, Claudia Wieser: Generations (co-curated), Alison O’Daniel: Heavy Air, Jillian Mayer: TIMESHARE, The Language of Objects, Wanderlust: Actions, Traces, Journeys 1967-2017 and Introducing Tony Conrad: A Retrospective (co-curated). Forthcoming projects include exhibitions with Maya Dunietz in 2022 and in 2023, the painting exhibition Presence in the Pause.

She has worked with artists including Ekene Ijeoma, Amie Siegel, Ragnar Kjartansson, Lydia Okumura, Stephanie Syjuco, Claudia Wieser Kambui Olujimi, Jordan Weber, Brendan Fernandes, Seher Shah, John Grade, Claire Ashley, Julia Rose Sutherland, Seitu Ken Jones, and Alyssa Pheobus Mumtaz. Her writing has been included in exhibition catalogues Claudia Wieser: Generations; Jillian Mayer: TIMESHARE, Introducing Tony Conrad: A Retrospective, Out of Easy Reach, Prospect.3 New Orleans, and Texas Prize 2012 as well as Afterimage,, Art Papers, Art Practical, Modern Painters, and Texas Architect. She is an alumnus of the 2016 ICI Curatorial Intensive in New Orleans and the 2016 Artis Curatorial Research Trip to Israel. She has lectured at the University at Buffalo, MOCAD, The Rose Art Museum, Hallwalls Center for Contemporary Art, PNCA, FIT, the University of Nebraska Omaha, the Stephens Institute, Texas State University, the University of Texas at Austin, and the School of the Art Institute of Chicago.

Lucy Ainsworth

Lucy Ainsworth is an emerging Australian curator. She is currently Curator and Exhibitions Coordinator at UNSW Galleries, a university art gallery in Sydney. Lucy’s research focuses on social practice and exhibition making in non-traditional spaces. She recently curated ‘Shelter Union’ (2015), an exhibition that explores how key artists and architects, including Urban Think-Tank and Teddy Cruz, respond to present social and environmental crises by developing experimental modes for living in the 21st century. She has coordinated projects by Richard Mosse, Shaun Gladwell, Angelica Mesiti and Adrian Paci. Lucy is Co-director of ‘Reframing the Curatorial Project’ which surveys the experimental practices of leading curators who seek to radically reframe ‘audience-centered’ approaches to exhibition-making and programming. In her previous role as Assistant Curator, she helped to develop many exhibitions of Australian and international art, including ‘Running the City’ (2013) at UNSW Galleries with artists MAP Office and Jun Nguyen Hatsushiba, ‘Making Change’ (2012) at the National Museum of China, a public art project ‘We Make This City’ (2012) and ‘Try This At Home’ (2011) at Object Gallery, Sydney. Lucy completed a BA Visual Arts at Sydney College of the Arts, University of Sydney and MA Arts Administration at UNSW Art & Design. In 2011, she initiated Paper Plane Gallery, an artist run space in Sydney, where she was Director and Curator for two years. During this time, she curated diverse programs and exhibitions including ‘Future Spaces’ (2012), that examined art’s ability to dip between reality and the imaginary, ‘Potlatch’ (2011), which tested the gift economy, live drawing performances and zine markets.

Katherine Finerty

Katherine Finerty is an independent curator, writer, and art historian focusing in socially engaged practices and contemporary translocal and African art. She works collaboratively to develop alternative discourses and create multi-disciplinary art experiences that encourage participation and progressive exchanges. Finerty recently received a Masters in Curating Contemporary Art at the Royal College of Art, London, and was the Curatorial Assistant to Elvira Dyangani Ose for GIBCA 2015 (Göteborg International Biennial for Contemporary Art). She has co-founded the nomadic art radio station «ECHO» and worked as the curatorial assistant of Rencontres Picha: Biennale de Lubumbashi 2012/2013, a publications intern at the White Cube gallery, and an assistant for artist Theaster Gates. Finerty has a BA in History of Art and Africana Studies from Cornell University, New York, and studied History of Art at Pembroke College, University of Cambridge. She has worked as an education intern at the Guggenheim Museum, New York, and a curatorial intern at the Studio Museum in Harlem and the Metropolitan Museum in the Arts of Africa department. Exhibitions she has co-curated include: Introducing «ECHO» (The Function Room, 2014); ...all silent but for the buzzing… (Royal College of Art, 2014); Adjacent Practice Colliding Daily (Acme Project Space, 2013); iCON: Consuming the American Image (2011), and Topography in Translation: Navigating Modern Chinese Landscapes (Herbert F. Johnson Museum of Art, 2010).

Allison Glenn

Allison Glenn is Co-Curator of the Counterpublic Triennial 2023 in Houston, Texas. Formerly she was Senior Curator and Director of Public Art at Contemporary Arts Museum Houston, where she provided senior leadership for CAMH’s curatorial team, encompassing exhibitions, public projects, and artist-driven initiatives in the public realm; both within and beyond the walls of the Museum. Glenn is deeply invested in working closely with artists to develop ideas, artworks, and exhibitions that respond to and transform our understanding of the world. Recently, she received substantial critical and community praise for her curatorial work in the groundbreaking exhibition at the Speed Art Museum in Louisville, Kentucky titled Promise, Witness, Remembrance.

During her 3 1/2 year tenure at Crystal Bridges Museum of American Art, Glenn further shaped how public sculpture activates and engages the museum’s 120-acres of Ozark woods with outdoor exhibitions, solo artist projects, and loans, working with Rashid Johnson, Sarah Braman, Sam Falls, Odili Donald Odita, Jessica Stockholder, George Sanchez-Calderon, Bethany Collins, and more. She was a member of the curatorial team for State of the Art 2020, which opened simultaneously at Crystal Bridges and the Momentary. In addition, she spearheaded the adaptation of Hank Willis Thomas: All Things Being Equal… (2020) at Crystal Bridges, the first comprehensive survey of the artist’s work, organized by the Portland Art Museum.

Ross Jordan

Ross Jordan is Curatorial Manager at the Jane Addams Hull-House Museum in Chicago, IL. He is a curator interested in the confluence of American politics, visual culture, and artistic production. Since coming to Chicago in 2010, first as a graduate student and then as a full-time staff member of SAIC’s Department of Exhibitions and Exhibitions Studies, Ross expanded curricular exhibitions on the campus and transformed graduate and undergraduate led exhibitions and programs into research driven and collaborative experiences. Ross also made himself a vital presence in Chicago’s art community curating six independent exhibitions over the last five years in several of Chicago’s tenacious arts venues. Previously, Ross was a 12-month intern in the Department of Painting and Sculpture at the Museum of Modern Art where he was a contributor to the museum’s blog Inside/Out and provided research support for exhibitions including Lee Bontecou: All Freedom in Every Sense (2010), Diego Rivera: Murals for The Museum of Modern Art (2011) and Abstract Expressionist New York (2011). Ross is the recipient of the Studio Art Fellowship, Trinity College; the Graduate Curatorial Fellowship, SAIC; a 2015 ACRE Curatorial Fellowship; and was a 2014/15 inaugural curator-in-residence at the Chicago Cultural Center. He holds a Bachelors of Arts in Studio Arts from Connecticut College and dual Masters Degrees in Art History and Arts Administration and Policy from the School of the Art Institute of Chicago.

Ingrid LaFleur

As a recent Detroit Mayoral candidate and founder and director of AFROTOPIA, LaFleur implements Afrofuturist strategies to empower Black bodies and oppressed communities through frameworks such as blockchain, cryptocurrency, and universal basic income. Most recently she joined the EOS Detroit team as the Chief Community Officer.

Lynnette Miranda

Lynnette Miranda is the Program Director at United States Artists in Chicago. She has worked at leading arts institutions including Creative Time, ART21, and the Art Institute of Chicago. In 2015, she coordinated three art conferences, including The Creative Time Summit: The Curriculum at both the Venice Biennale and at Brooklyn’s Boys and Girls High School, as well as ART21’s Creative Chemistries: Radical Practices for Art + Education at the Park Avenue Armory. In 2016, she was one of twelve participants in Independent Curators International’s Curatorial Intensive program in New Orleans and served as the 2016-2017 Curator in Residence at Charlotte Street Foundation in Kansas City.

Her writing has been published in Hyperallergic, Pelican Bomb, American Craft Magazine, Sixty Inches From Center, Chicago Artist Writers, KC Studio, Informality, and This is Tomorrow, Contemporary Art Magazine. She has contributed writing to the exhibition catalogs Prospect.4: The Lotus in Spite of the Swamp for Prospect New Orleans and Wanderlust: Actions, Traces, Journeys 1967–2017 published by MIT Press for the University of Buffalo Art Galleries.

Lydia Y. Nichols

Lydia Y. Nichols is a writer, curator, and ethnographer native to New Orleans. Her work considers the lived experience, ancestral memory, and historical imaginary of race and their impacts on Black aesthetics in the outdoors. She has been published in 64 Parishes Magazine, Antenna’s Signals Magazine,, The Lens, Pelican Bomb, and Tribes Magazine. In 2014, Nichols co-produced the acclaimed public art exhibition ExhibitBE, which featured the work of 40 street artists, sculptors, and installation artists in a five-building unoccupied apartment complex in New Orleans’ Algiers neighborhood. She led research for the award-winning documentary film Mossville: When Great Trees Fall (2019), about a Black Louisiana community’s erasure by industrial expansion and government negligence. Nichols is a contributing curator to Independent Curators International’s traveling exhibition Notes for Tomorrow, which opened at Cantor Fitzgerald Gallery in February 2021. She is a 2020-21 Rising: Climate in Crisis resident at Tulane University’s A Studio in the Woods. The resulting serial radio drama Don’t Look Away will premier in Summer 2021, produced by No Dream Deferred Theatre Company. Nichols lives in New Orleans’ Gentilly neighborhood with her toddler son, Amistad.

Larry Ossei-Mensah

Larry Ossei-Mensah is a Ghanaian-American independent curator and cultural critic who has documented contemporary art happenings for various publications including Uptown and Whitewall Magazine. His writings have profiled some of the most dynamic visual artists working today—Derrick Adams, Mickalene Thomas, Kehinde Wiley, Lorna Simpson and street artist JR. As a curator, Ossei-Mensah uses contemporary art and culture as a vehicle to redefine how we see ourselves and the world around us. He has organized exhibitions at commercial and nonprofit galleries throughout New York City featuring a roster of critically acclaimed emerging and mid-career artists including Firelei Baez, ruby amanze, Hugo McCloud, Brendan Fernandes, and Derek Fordjour to name a few. Ossei-Mensah is also the Co-Founder of ARTNOIR, a global collective of culturalists who design multimodal experiences aimed to engage this generation’s dynamic and diverse creative class. ARTNOIR serves as a tangible extension of Ossei-Mensah’s curatorial vision of “bridging gaps.” ARTNOIR’s inaugural event was a conversation on art and gender justice featuring Wangechi Mutu, Julie Mehretu and Adrienne Edwards. He currently serves as Co-Chair on Russell Simmons’ RUSH Artist Advisory Board, the Guggenheim’s Young Collectors Council, MoMA’s Friends of Education and as juror for the 2016 PULSE Prize.

Arnaldo Rodríguez-Bagué

Currently based in Chicago, Illinois, Arnaldo Rodríguez-Bagué is an artist, curator, and researcher from San Juan, Puerto Rico. Rodríguez-Bagué obtained a BA in Anthropology (2012) and a MA in Cultural Management (2015) from the University of Puerto Rico, Río Piedras Campus. His practice is centered around documentation, appropriation, and reformulation of diverse contexts, genealogies, and archives. His practices cuts across the documentary and the curatorial through video, photography, digital image, and exhibition making. His curatorial research revolves around video, film, and performance in Puerto Rico and the Caribbean. From 2013 to 2015 he curated the Foro Permanente de Performance, a curatorial platform for the University of Puerto Rico’s Women’s and Gender Studies Program. In 2015 participated in the Independent Curatorial International’s Curatorial Intensive in NOLA. In 2016, in collaboration with performance artist Mickey Negrón to curated Asuntos Efímeros’ QUIEBRE: Festival Internacional de Performance where he curated the experimental dance retrospective Pisotón: antes de todo género. Also in 2016, he co-ordinated the second edition of Proyecto Santurce: El MAC en el Barrio for the Puerto Rico’s Museum of Contemporary Art and was a fellow artist in Beta Local’s La Práctica (2016-2017) where he developed his current interdisciplinary research project called Caribe-Yet-To-Come.

Anthony Stepter

Anthony Stepter works at the University of Illinois at Chicago (UIC) where he is both the graduate program coordinator for Museum and Exhibition Studies and the coordinator of public programs and community engagement at Gallery 400. He graduated from the School of the Art Institute of Chicago with an MA in Visual and Critical Studies. His work at UIC includes advising graduate students, organizing an annual lecture series, partnering with community organizations, and developing imaginative projects including a bike tour, a youth parade, and a resource fair for Queer youth. He has presented on his professional practice at conferences and universities nationally and internationally. As an independent organizer Anthony has curated exhibitions and projects for ACRE, the Washington Park Arts Incubator at the University of Chicago, and Chicago’s 2nd Floor Rear festival. He served as a juror for apexart, collaborated with the Office of Public Culture in Grand Rapids, MI, and co-curated Extinct Entities, a month-long performance series of commissioned art works exploring the history of Chicago-based art spaces that no longer exist.

Charlie Tatum

Charlie Tatum is a writer and arts worker based in New Orleans, LA. He received a B.A. in Art History from New York University in 2011. He currently works as Editorial and Communications Manager at Pelican Bomb, commissioning and publishing pieces for the organization’s online contemporary arts publication. In addition to contributing regularly to Pelican Bomb’s Art Review, he has written essays and interviews for Hyperallergic, Temporary Art Review, and BurnAway, among other places. He has previously held positions with Prospect New Orleans, the Whitney Museum of American Art, Lombard Freid Gallery, and various artist studios. From 2012 to 2014, he co-edited HEJ: a print-curatorial project, an interdisciplinary arts publication, with Dana Kopel. His research interests center around ideas of otherness, sexuality, media, and the American South.

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