Berette S. Macaulay "BIPOC on Colonialism, Nationalism, and [The Harmful Illusion of] White Supremacy"

How incredible to have come to our LAST (for a while anyway) episode of Critical Bounds. Please enjoy this exceptional conversation with Berette S. Macaulay.

We have such gratitude for Berette for engaging in this conversation. We discuss living a multiplicitous life, and the institutional lie that you must focus on One Thing, or be branded a failure. How to interrogate the process and usefulness of critical dialogue. What populations are still being overlooked in the art world? The influence of the Black Portlanders project. Working with artists who are creating work to, “...speak to some of the traumas, but not define ourselves by these traumas.” How institutional racism creates a challenge in even putting together a show that is about Black people. Tokenism in cultural institutions. The invisibility of power. Interrogating terms like “white privilege” and “white supremacy”, to unroot the mythologies of “Whiteness”. And so much more.

Berette S. Macaulay is a multidisciplinary artist, curator, and writer from Jamaica and Sierra Leone. Her research and visual arts practice engage themes of belonging, identity-performance, illegibility, love, memory, and mythmaking. 

She is currently the inaugural curatorial fellow at On The Boards Performing Arts Theater in Seattle, has exhibited and published nationally and internationally, receiving recent Artist Grants from the Vermont Studio Center Residency, Shunpike Arts, and 4Culture. Art and writing publications include Feminist Media Histories, UNESCO Courier, Of Note and Museé magazines, and the World Policy Journal. Her curatorial work includes illusive self (2013) at Taller Boricua Gallery, NYC, and Exploring Passages in the Black Diaspora (2020) at Photographic Center NW. 

MFON in Seattle catalogue. Get the print catalog HERE.

Berette was the creator and organizer of the MFON in Seattle (2019/20) program in which she facilitated exhibition partnerships with MFON Women, Frye Art Museum, Jacob Lawrence Gallery, and Photographic Center Northwest, following the legacy work of Adama Delphine Fawundu and Laylah Amatullah Barrayn to feature Black women photographers from Africa, the Caribbean, Europe, and North America. 

Berette’s awards include a 2019 Simpson Center Research Cluster Grant as founder of Black Cinema Collective (BCC) where she curates screenings, watch parties, and panel discussions alongside co-programmers Savita Krishnamoorthy and Mateo Ochoa, focusing on African and Afro-Diasporic films. BCC functions as a project of i•ma•gine | e•volve, an interdisciplinary arts incubator she has been tending to since 2010. 

Berette was named a 2019 Ottenberg-Winans Fellow for African Studies (UW), and is the recipient of the 2020 Champion of Seattle Arts (COSA) Award. Berette also serves as the Art Liaison Program Manager at Henry Art Gallery, University of Washington.

Eva Mayhabal Davis "BIPOC on Colonialism, Nationalism, and [the Harmful Illusion of] White Supremacy"

Head over to Soundcloud for our conversation with arts advocate and curator Eva Mayhabal Davis (B. Toluca, Mexico). We talk about our mutual disdain for Picasso, Davis' art journey, her project El Salón, the prospect of gathering together again, our mutual anxiety at onscreen crowds (and the 80s and early 90s lack of cellphones), how she advocates for community through the arts, and what old hobbies became new again during the pandemic.

Davis was born in Mexico, raised in the United States, and studied art history at the University of Washington. She is a founding member of El Salón, a meetup for cultural producers. Her Mexica identity, immigrant and working class narrative informs her work in advocacy for equity and social justice through the arts.

Davis is a the Intake Paralegal at UnLocal, Inc, a non-profit organization that provides direct immigration legal representation, legal consultations, and community education to New York City’s undocumented immigrant communities. She is also director of Transmitter NYC, curator for NYC Crit Club, and her writing has been featured in many publications such as Foundwork, Arte Fuse, Art Spiel, the Hemispheric Institute’s Cuadernos, Nueva Luz: Photographic Journal, Guggenheim Museum Blog, and Cultureworks Magazine.

Satpreet Kahlon "BIPOC on Colonialism, Nationalism, and [the Harmful Illusion of] White Supremacy"

Tune in to our latest conversation with Satpreet Kahlon, a Punjabi-born, Seattle based artist, organizer, and curator, and the editor of New Archives, a nonprofit arts journal which focuses on art in the Pacific Northwest.

We talk about Satpreet's work at (now-defunct) The Alice Gallery, including her first experience at curating the show "From Which We Rise", and its familial connections. We discuss the vibrations of Place, and Satpreet's experiences living around the US. We touch on institutional tokenism, her work with yəhaw̓ Indigenous Collective, and the issues with the word "decolonization". We side-eye the New York Times, and discuss theories on how some work by BIPOC artists is largely ignored because it isn't easily digestible for hegemonic consumption.

“Towards the Earth”. (ca 2018-2019). Satpreet Kahlon. Image courtesy of the artist.

Satpreet talks about her own artistic practice, the ways she interrogates space, and how her work "...moves against the framework of metal penii", embodying anti-monumentalism. We also learn the influence of Archive, and the words of Saidiya Hartman, and how not all curators are created equal.

Michelle Kumata "BIPOC on Colonialism, Nationalism, and [the harmful illusion of] White Supremacy"

Head over to Soundcloud to hear our latest episode with artist Michelle Kumata. Michelle Kumata (she, her), is a 3.5 generation Japanese American artist and Seattle native with a BFA in Illustration from The School of Visual Arts in New York, NY. She worked as a graphic artist at The Seattle Times for over a decade and then served as Exhibit Director at Wing Luke Museum of the Asian Pacific American Experience for 12 years. Michelle is influenced by heritage, identity and legacy. She is currently exploring the Japanese diaspora in the U.S. and Brazil through oral histories and visual storytelling. See more of Michelle’s work at michellekumata.com or follow her on Instagram @michellekumata.

In this episode from our series with BIPOC artists on Colonialism, Nationalism, and the harmful illusion of White Supremacy, we talk about Kumata’s time at Wing Luke Museum, her project on the Japanese Diaspora in the US and Brazil.

“Song For Generations”. (2019). Michelle Kumata, acrylic on canvas, 16' x 8'

We also get a deep dive into Kumata’s work "Song For Generations", and how it deals with the Internment of Japanese Americans during WWII. Kumata emphasizes the importance of listening to those from historically marginalized communities and really processing what is happening right now, then taking action as individuals to effect positive change. Plus, shoutouts to Wa Na Wari, and founders Elisheba Johnson and Inye Wokoma, as well as artists Roger Shimomura, Erin Shigaki, Louie Gong, and a book recommendation for everyone who is interested in learning more about Bellevue, Washington’s internment of Japanese-American citizens during WWII: Strawberry Days: How Internment Destroyed a Japanese American Community by David A. Neiwert.

Alexis L. Silva on "BIPOC on Colonialism, Nationalism, and [the harmful illusion of] White Supremacy"

At last, our conversation with artist writer, and curator Alexis L. Silva is available for your listening pleasure! We talk about finding your community in the art world, redefining success in a non-colonial context, the value of community museums (like the Wing Luke Museum, where he works), being 2nd generation, and a Person of Color in the art world, why we should be building coalitions now, more than ever, and much more.

“Alexis L. Silva is a Seattle based Hispanic Latino artist, writer, and curator who works through the means of performance, installation, and photography. Inspired by the idea of emotion transforming into something tangible and the overall human narrative, he creates his work by constructing thoughtful and immersive experiences that provoke emotive and visual poeticism. 

Born from immigrant parents under the heat of the Las Vegas sun, Alexis began working with photography at the age of 10. Enamored by the idea of capturing time in a box, he continued to pursue his interest in photography and graduated from Las Vegas Academy of the Arts with a focus in Photography. He went on to receive his BFA from Cornish College of the Arts with a focus in Performance, Installation, and Photography. His current works are a collection of poems and found images that tell his family's immigration story. His love for storytelling and narrative fuels his practice where he explores ideas of queerness, race, and the overall human experience.”

Adero Knott for "BIPOC on Colonialism, Nationalism, and [the harmful illusion of] White Supremacy

So pleased to drop the FIRST conversation for our segment with BIPOC creatives on Colonialism, Nationalism, and [the harmful illusion of] White Supremacy. These issues are so pervasive—they seep into almost every area of our lives in one form or another, so much so, that many don’t even question the grievous harm that upholding these ideals causes. While most people who identify as “white” ignore their effects, it is beyond time for us to take on these burdens, and eradicate them.

This segment is not an attempt to obtain our guests’ labor for “solving” these issues—that’s on us white folx. These episodes are just conversations with amazing creatives, who have very different lives from one another, but all have to deal with societal marginalization(s) based on these three ideals on a daily basis. Although the three ideologies are titular, the conversational focus is on our guests’ lives and work.

Our first conversation is with Adero Knott, an emerging curator, inventor, and Founder of AK Prosthetics, an AdaptiveTech startup that makes customized prosthetics and adaptive wear accessible and inclusive. Her first foray into curating was with the show "Disability and Perspective", one of four exhibitions from the Commons Artist Project by Norman Teague and Fo Wilson, which debuted at MCA Chicago, about making art and life more accessible, how we might expand sensory experiences at museums and art galleries, her road to becoming an entrepreneur, being a dark-skinned, Black woman in the tech world, how to invest in her accessible prosthetics app, and her highly varied experiences with racism around the world.

Bethany Tabor on "Art and Death"

Head over to Soundcloud to enjoy this fantastic episode with curator, writer, and cultural arts programmer Bethany Tabor! When we downloaded the files, every bit of one side of the conversation sounded like it was underwater, and so—we re-recorded it to the best of our ability. We are so glad that Bethany’s audio was unharmed, because it’s a great conversation.

We talk about her work with Greenwood Cemetery, Brooklyn, creating events that give space for people to talk and learn about death and dying. We discuss performance art, John Underwood, the founder of the Death Cafe Movement, her writing about artist Teresa Margolles, Dia de Los Muertos and how its appropriation perfectly encapsulates the inextricably imperialistic relationship between US and Mexico, and how Covid has not actually changed our proximity to death.

J Simmz on "Art and Death"

Sending out our second episode in the “Art and Death” segment to you all on Halloween (as is only fitting). This conversation with J Simmz delves into our personal and larger societal relationships with death, Simmz work as an intuitive and conceptual curator, how she has found ways to move naturally with cycles of life and death in work and beyond, and how we might apply that philosophy to our current state—the possible deaths of our own harmful institutions—and what our might our roles at this moment in time be.

“J. Simmz is an independent curator, writer, and researcher based in Ridgewood, Queens. She is director and curator of Doppelgänger Projects, an independent curatorial venture promoting distinctly alternative perspectives while focusing on practices of aesthetics, feminism, technology, and the esoteric within the emerging contemporary art landscape. Previously, she was Assistant Curator for g a macura inc., during which she managed GE's corporate collection. Jennifer holds her M.S. in Arts Administration from Boston University and obtained her B.A. from New York University in Art History.”

Adela Goldsmith on "Art, Gender, and Sexuality"

Head over to Soundcloud (or any of our other hosting services via the buttons above) to hear our latest episode with Adela Goldsmith about queer elders, our love/hate relationship with museums (some we really love), the value of experiential knowledge, the importance and innate queerness of archives, the future of museums (is there one?), the roles of care networks, mutual aid, and queer methodologies during this historic moment, what the Critical Bounds drinking game would look like, and "What is a Career?".

Adela Goldsmith is an independent art scholar and curator, who graduated from Smith College with a BA in Art History and a concentration in Museum Studies, wherein they completed a project which examines the relationship between the development of museums’ permanent collections and archival documentation.

They have held curatorial internships at the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum, the National Portrait Gallery, and the Whitney Museum of American Art, as well as an archives internship in artist Cass Bird’s studio, and was a Junior Assistant at the Center for Curatorial Leadership.

Currently, Goldsmith has joined forces with the think-tank/research lab known as the Institute of Museums Against All Fucked Up Social Systems (IMAAFUSS), which explores adaptive solutions for experiencing art collectively and critiquing arts institutions in the midst of a catastrophic pandemic and a watershed reckoning with racism and inequity in the cultural sector and beyond. They have also gotten involved with the soon-to-debut mutual aid and resource-sharing network, Aid for Art Now (A4AN), which aims to support and sustain current and prospective arts workers and create a more inclusive and accessible museum field.

Their curatorial practice focuses on the intersections of queerness, archival
impulse, and institutional memory.

Until Next Time!

Hi everyone! Summer intern Tori here. My internship ends today, so I wanted to give a big thank you as well as an “until next time!”

Last June, I was fortunate enough to be connected with Nicole through the career department at Smith College. As an Art History major focused on art that is influenced by global issues, and as an aspiring educator of this art, CB’s mission of opening dialogues about these topics for wide audiences seemed to align well with my academic and personal missions. 

And it did! At CB, I was given the opportunity to write about these critical issues, such as art-world representation, queer art, and public art, for larger audiences (beyond my professors and peers, that is). I was also introduced to phenomenal emerging artists and curators. The special treat for me was CB’s mission itself: listening to these artists and curators discuss their work themselves and how their everyday experiences influence it.

Critical Bounds kindly gave me a platform that taught me how I can effectively take part in pushing for diversity, accessibility, and challenging the exclusionary ways “things have always been done” in the art world and everyday life. As I pursue my ambition of becoming an educator, I will apply what I learned at CB to continue advocating for these changes.

Thank you all for letting me join you this summer! I look forward to continuing to tune in.

Signing off,
Tori

Tiffany Shaw-Collinge on "Art and Climate Crisis"

Head over to Soundcloud (or Apple Music, Spotify, We Heart Radio, or your chosen podcast subscription service) to listen to our latest release with Métis artist and architect Tiffany Shaw-Collinge, where we discuss holistic sustainability, Ocicicwan Contemporary Art Collective, and Contemporary Indigenous Art and Architecture.

“Tiffany Shaw-Collinge is an interdisciplinary artist, curator and registered architect based in Edmonton, Alberta. She holds a BFA from Nova Scotia College of Art and Design (NSCAD) University, a Masters in Architecture from the Southern California Institute of Architecture (SCI-Arc). Tiffany has exhibited widely including the Architecture Venice Biennale, Winnipeg Art Gallery and more recently the Chicago Architecture Biennial. She has been the recipient of a major commission for Edmonton's Indigenous Art Park, among other public art projects, has produced several notable transitory art works and is a core member of Ociciwan Contemporary Art Collective. Tiffany was born in Calgary, Alberta and raised in Edmonton - her Métis ancestry comes from Fort McMurray via the Red River. “

All the Updates

It has been a busy past month, with moving, settling in, and recording.

During the past few weeks we have been fortunate to speak with several illuminating guests: Jacob Hurwitz-Goodman spoke with us about his upcoming feature film Early Stage, “…an anthology film, speculating about the inner life of artificially intelligent networks.”

For our segment on Art and Death, we conversed with Bethany Tabor, a cultural arts programmer whose work focuses on death and end of life practices, J Simmz, a curator, writer, and co-founder of Doppelgänger Projects in New York, who works closely with the Death Positive Movement. Simmz conceptualizes exhibitions with heavy focus on the cycles of life and death, mysticism, and transcendence. This segment also included poet, mixed media artist, founder of Thedna Arts, and death doula Carrie Redway. Redway’s work with death is closely related to cycles of nature, folklore, mythology, and ritual.

We also delved more deeply into our Art and Health segment, speaking with artist and physician Dr. Eric Avery. Avery’s work has spanned several decades, and includes work exploring the social side of the AIDS/HIV crisis, as well as emerging infectious diseases, human rights abuses, death, and sexuality. We were also excited to speak with Dr. Bettina Judd, a writer, artist, performer, current Assistant Professor of Gender, Women, and Sexuality Studies at the University of Washington, and author of Patient, a book of poems that explores the historical utilization of, and standardization of the dehumanization of Black, non-cisgender male bodies in the field of Eurocentric healthcare that continues today.

Our new intern, Tori Currier.

We would also like to take this time to welcome our summer intern Tori Currier! Tori is originally from East Longmeadow, Massachusetts. She currently resides in Northampton, Massachusetts where she attends Smith College. Tori is a junior (2022J) majoring in Art History. Focused on LGBTQ+ art, she is passionate about the role of art in social movements. Presently, she is conducting research for an honors thesis about AIDS crisis art and its continued censorship in the art world today. 

Tori intends to pursue a career in higher education. Her ambitions include changing how art history is traditionally taught by giving more attention to artists who have long been excluded or underappreciated. Interested in how history can be conveyed through creative fiction, Tori is developing a television screenplay about LGBTQ+ artists from the 60’s - 80’s, hoping to educate younger generations about the community’s history and the significant social roles that art has played throughout these decades. 

As an intern for Critical Bounds, she will strive to facilitate conversations about the importance of art in critical global issues. She is enthusiastic about how programs and websites in the social media age can become spaces for marginalized voices as well as tools to make education more accessible.

Tori will be doing research, handling a lot of our social media, and taking over the blog for the next few weeks, as well as making an episode of her own in August, and we are so happy to have her.