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.

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.