Art Practical | New Takes: Interview with Richard-Jonathan Nelson by Maddie Klett


Friends and fellow California College of the Arts alums artist Richard-Jonathan Nelson and curator Maddie Klett discuss Richard’s current practice + work in Art Practical’s New Takes.

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New Takes is a column written by emerging writers on emerging artists as part of the Art Practical Residency. One resident is nominated from a pool of recent graduates from California College of the Arts, who holds the position for one year. Our current New Takes contributor and Art Practical resident is Maddie Klett.

 

Oakland-based artist Richard-Jonathan Nelson makes digital and fabric works that visualize speculative futures and his presence within them. Collaging images of plants from the herbal, hoodoo traditions of the Deep South set against noxious, neon colors, Nelson creates visions of the future that toe-the-line between emancipating and dire. This conversation took place before the COVID-19 pandemic, and has been edited and shortened for clarity. Still, viewed now through the lens of a crisis that seems to color everything, Nelson’s thoughts on survival in today’s world and in the alternate worlds he creates reveal how survival and crises are not, for many, born out of this pandemic.

Read the full inteview

Artsy | The Most Influential Living African American Artists

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this was posted on Artsy.net for Black History Month, but i just happened upon it yesterday. this is an amazing list! at the same time there are so many African American artists that i’d love to see on a list like this, expanding the definition of “influential.”

see the list and read the article in full here.

What Is Curatorial Activism? by Maura Riley

Oooooooooooo Maura Riley!! this posted a year ago, but it’s so good and deserves attention.

adapted from Curatorial Activism: Towards an Ethics of Curating, by Maura Reilly (to be published April 2018 by Thames & Hudson). ©2018 Maura Reilly. 

this:
“These curators have committed themselves to insurrectionist initiatives that are leveling hierarchies, challenging assumptions, countering erasure, promoting the margins over the center, the minority over the majority, as well as positing curatorial “strategies of resistance,” provoking intelligent debate, disseminating new knowledge, which, in the end, offers up signs of hope and affirmation.”
 
and this:
“Theirs is not Affirmative Action curating, it’s intelligent curating.”
 
and THIS:
“If you don’t believe that the art world is sexist and racist, it’s time for you to come out from under your rock….These are not issues from the past, folks. This is now. We are living and working in an art world that cares little about racism and sexism, a world that appears to pre-date the women’s/civil and LGBTQ rights movements.”
Read in full here.
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Sculptures by Huma Bhabha, paintings by Ellen Gallagher to the sides, Emily Kame Kngwarreye in back, in the 56th Venice Biennale’s central exhibition, “All the World’s Futures,” 2015, curated by Okwui Enwezor.
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