Tilting Axis Curatorial Fellowship 2018 Open Call

As a direct outcome of the Tilting Axis meeting held at the National Gallery of the Cayman Islands in May 2017, the University of Texas at Austin’s (UT) Art Galleries at Black Studies has come together with Tilting Axis to offer a Curatorial Fellowship to an emerging curator living and working in the Caribbean.

This Fellowship opportunity focuses on curators living and working within the Caribbean region, and is both research and practice-led, and mentor-based. The Fellow will receive a maximum of USD$5,500 towards a fee, travel, accommodation and living costs. The Fellowship is supported by University of Texas at Austin’s (UT) Art Galleries at Black Studies.

This Fellowship includes round-trip airfare from any country within the Caribbean to Austin, Texas, where the Fellow will have access to private accomodation, in the award-winning home of Susanna and Richard Finnell, local collectors, for a period of four weeks. During this timeframe, the Fellow will be able to view and work with the University of Texas at Austin’s (UT) Art Galleries at Black Studies’ Collection along with the LLILAS Benson Latin American Studies Collection, and the campus libraries.

This Fellowship also includes access to the 800-piece private Christian-Green Collection comprised of Afro-Caribbean and Afro-American art works, with a dedicated focus on works from Haiti. The Fellow will also have access to the Christian-Green’s Reading Room and will be mentored by Lise Ragbir, the Director of the Art Galleries at Black Studies at UT, with whom he/she will work to produce a fully funded exhibition in the Warfield Center’s Idea Lab Gallery, in the Fall of 2019.

Application Process:

Proposals will be judged by an international jury consisting of curators, academics, and museum professionals, after which shortlisted candidates (3) will be invited for an interview via Skype.

The Fellow will be selected on the basis of a letter of interest stating how this opportunity and access to collections and archives would inform and develop their curatorial practice, and why they think they would be a good candidate. The proposal should be no longer than 1000 words, and can be submitted to: tiltingaxis@gmail.com.

Please enclose CV and two references.

The Fellowship will be conducted over a four week period in either the Fall semester of 2018 or the Spring semester of 2019. Exact dates to be determined in consultation with the mentor.

The submission deadline for applications is May 18th, 2018, and the Curatorial Fellow will be announced at the upcoming Tilting Axis 4 meeting in the Dominican Republic on May 31st – June 2nd, 2018.

Jurors will be:

  • Lise Ragbir, the Director of the Art Galleries at Black Studies at The University of Texas at Austin
  • Eddie Chambers, Professor in the Department of Art and Art History, University of Texas at Austin
  • Holly Bynoe, ARC Magazine, The National Art Gallery of the Bahamas and Tilting Axis co-founder
  • Tobias Ostrander, Senior Curator, PAMM
  • Mario Caro, board member of Res Artis, Tilting Axis partner
  • Annalee Davis, Fresh Milk Barbados, Tilting Axis co-founder
  • Natalie Urquhart, Director, The National Gallery of the Cayman Islands
  • Sara Hermann, Visual Arts Consultant, Centro Cultural Eduardo León Jimenes
  • Joel Butler, Visual Arts and Exhibitions Coordinator, Centro Cultural Eduardo León Jimenes

 

drea brown’s Residency – Final Blog Post

US-based poet drea brown shares her final blog post about her Fresh Milk residency, which took place from April 19 – May 10, 2017 as part of a new partnership between  Fresh Milk  and the John L. Warfield Center for African and African American Studies at the University of Texas in Austin. Although there is a kind of finality in her writing this closing blog, it also comes with the knowledge that her time in Barbados was the start of something special; what she learned and the bonds she formed are sure to bring her back to the island in the future. Read more below:

I’ll begin with a confession. I think it has taken so long to write this final blog because in doing so, I have to admit the world I’ve returned to, full of its own responsibilities, is not a longwinded dream that I will wake from rocking in a chair on porch surrounded by blues and beauty, and the occasional mooing cow.

My last week of Fresh Milk was filled with serenity and laughter, with art and bold amazing voices. I found myself waking with pieces of poems in my mouth that stumbled onto scraps of napkins while coffee brewed. I rambled to Fresh Milk artists/team about all of these imaginings, all of these stories that kept unraveling. I shed layers and layers of fear, and leaned into the encouragement, and openness of those I’d come to cherish and respect.

A few days before leaving Barbados, I went to the Barbados Community College BFA portfolio art show, a major event in town, and walked around with my mouth gaped in a amazement from the intense beauty on those walls, the dismantling of taboo and stereotype, inquiries of identity, music, color, masculinities, sisterhood.  That night, those walls, the sounds, the film shorts, still buzz in my head. I am eagerly anticipating what comes next for the bold emerging artists.

My last evening with Fresh Milk was also the night of artist talks and a gallery walk. Kraig Yearwood’s creations and residency experiments lined the walls and posed in corners. And, I was so inspired by the way he let go, and let his art decide the journey. There was such truth in that, surrendering to the will of the work. I was learning something similar, how to listen, how to see, and let my hands move as they desired. I read from new poems that night, and there were moments where I found myself surprised by the words I’d written, but they needed to be shared. And there is more to come.

I write this knowing I will be back. It feels impossible not to return. There’s more to be done.

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This residency is supported by the John L. Warfield Center for African and African American Studies

Fresh Milk welcomes drea brown to the platform in partnership with the Warfield Center

Fresh Milk in collaboration with the John L. Warfield Center for African and African American Studies at the University of Texas at Austin is pleased to launch their first international residency partnership, and welcomes US-based poet drea brown to the platform between April 19 – May 10, 2017.

About drea brown:

Originally from St.Louis, drea brown is currently a PhD candidate in African and African Diaspora Studies at UT Austin. Her work has appeared in a variety of literary journals most recently Stand Our Ground: Poems for Trayvon Martin and Marissa Alexander and Southern Indiana Review. drea is also the winner of the 2014 Gold Line Press poetry chapbook competition judged by Douglas Kearney. Her chapbook dear girl: a reckoning was released in 2015.

Excerpt from research statement:

My research explores Black women poets’ use of grief and memory as devices to reconstruct cultural histories and subjectivity. I posit this remembering often calls for other ways of knowing that defy Western logic and linearity and instead privilege ideas of the sacred, collapsed notions of time, and lifted veils between worlds of the living and dead. I offer that to take up the task of remembering and revision, black women poets must confront hauntings of a racial and sexualized past that continually imprint on the present. Using a black feminist methodology I apply close readings and formal analysis that take into account lived experience and social, emotional and spiritual climates as conditions of lyric construction. Through this I demonstrate how ghosts in this poetic lineage are not just deceased or missing persons; they represent evidence of injustice and unrest, serving as erasures or reminders of what is not there but should be. Though haunting is frightening, ghosts are not always malicious, and at times are evidence of divine manifestation or future possibility. I position black women’s poetry as sites of haunting that bear indelible markings of grief in memory, arguing that they make a unique contribution to the genre of elegy.

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This residency is supported by the John L. Warfield Center for African and African American Studies