To support “Contested Bodies: Black Women in Art and Culture,” a convening series planned by the Contested Bodies Collaborative, an intergenerational gathering of Black women artists and art historians. The series will explore the historical construction and ongoing perpetuation of various stereotypes and tropes of Black women and Black femme-identified people in American art and culture.
To support “Museums Moving Forward: Equity and Accountability in Museum Workplaces,” a multi-convening program examining ways to make art museums more equitable. The convenings serve to disseminate field-wide data studies with new quantitative and qualitative research addressing key topics such as gender and racial wage gaps, promotion and retention rates, psychological safety, and a sense of belonging at work. The project results in a publicly available report with aggregate data analyses and concrete recommendations for change.
To support “The Wider World and Scrimshaw,” a public symposium and scholars’ day to explore new research on scrimshaw traditions and adjacent global forms of carving from Oceania, the Pacific Islands, the Pacific Northwest, and the Arctic. The program also serves as a research convening for the exhibition The Wider World and Scrimshaw.
To support “CHOTIN´: Curatorial Methods from the Tropics and Surroundings,” a convening of curators who specialize in Latin American and/or Latinx art and hail from across the U.S. and the Americas that will allow them to network and share experiences, especially as they relate to contemporary curatorial practice.
To support “Representations of Asian Migrants and Settlers in the Western United States, ca. 1850–1918,” a conference at the Museum of the Rockies in Bozeman, Montana, that explores the contributions of Asian American and European American artists to representations of the Asian experience in the West.
To support “Visible Designs: The Arts of Race and Capitalism,” a two-day symposium at the University of Chicago’s Reva and David Logan Center for the Arts, examining the history of race and capitalism in American history through the lens of visual and material culture.
To support “Indigenizing Museum Practices: Sharing Experiences and Strategies,” a two-day convening bringing together Indigenous and non-Indigenous curators, artists, academics, and community members to consider Indigenous practices in museum contexts and strategies for collaboration and reciprocity, artistic practice, the confrontation of colonial legacies, and more.
To support the eleventh Creative Time Summit, which brings together an interdisciplinary group of artists, activists, and thought leaders to explore strategies for subverting histories and systems of property ownership in favor of redistribution, reparation, and rematriation of land and resources.
To support “Exploring the Golden Age of Chinatown: A Hidden History of Photography, Film, and Performance, 1920–1950,” a convening that will enable participants to refine the nascent organization’s goals of contextualizing the historic cultural contributions of Asian Americans in San Francisco and to plan for future programming.
To support “The Materiality of Resistance,” a symposium that convenes writers, artists, designers, and archivists to examine how the materiality of making has served as a tool to imagine, promote, and enact resistance and sociocultural change in American art and culture.
To support “Magical Thinking,” a convening and related publication that explores causal and ritualistic modes of knowledge formation as an invitation to see signs, relationships, and links within the material and spiritual worlds.
To support “Unexpected Partners: Self-Taught Art and Modernism in Interwar America,” a virtual symposium that examines the contributions of self-taught art and artists to the development of American modernism.
