Artadia presents Art & Dialogue with Andrea Andersson, Founding Director and Chief Curator of Rivers Institute for Contemporary Art & Thought. Accompanying Andersson are Kara Tucina Olidge and Cameron Shaw. 

Art & Dialogue is a national program designed to expand support for Artadia’s growing network of Awardees. Artadia currently supports over 338 Awardees working in a diverse array of disciplines in six cities across the country. Developed through in-depth research of artists’ needs, Art & Dialogue bridges connections between visual artists, curators and diverse publics in Atlanta, Boston, Chicago, Houston, Los Angeles, New York, and San Francisco through a series of studio visits, public programs, and online engagement. 

Art & Dialogue with Andrea Andersson is a 1 hour talk and Q&A. 

VIP Hour
Attendees can also join VIP Hour with Andrea after the event, where a limited number of participants can intimately engage in conversation and expand into new topics. Purchase tickets for the VIP Hour here. 

The VIP hour is free for members of Artadia and Atlanta Contemporary.  To gain access to VIP hour, Artadia members can contact Katherine Plourde at [email protected]. Atlanta Contemporary members can contact Abby Bullard at [email protected].

This virtual lecture will be streamed via Zoom.

Watching via Zoom
Viewers can watch via Zoom. Zoom participants can join in via audio, video, and text chat during the open conversation portion of the lecture. Register here for the meeting and receive a link to join when it begins. Zoom participants are capped at 100 people.

Zoom Conversation guide

First-time users can watch this video on how to join a Zoom meeting.

  • Zoom viewers will enter the conversation with audio and video muted. Please stay muted until the open conversation portion. We promise we want to talk to you!
  • Start by introducing yourself with your name and pronouns.
  • We are here to grow and learn! Be open to different styles and areas of knowledge.
  • Share the floor – Be conscious of others joining in with questions and comments.

Bios

Andrea Andersson

Andrea Andersson serves as Founding Director and Chief Curator of Rivers Institute for Contemporary Art & Thought. Previously she worked as The Helis Foundation Chief Curator of Visual Arts at the Contemporary Arts Center, New Orleans where over the past five years she organized and toured exhibition including Adam Pendleton: Becoming Imperceptible, Rashaad Newsome: Mélange, Cecilia Vicuña: About to Happen, Jockum Nordström: Why is Everything A Rag, Sarah Morris: Sawdust & Tinsel, Keith Calhoun & Chandra McCormick: Labor Studies, Zarouhie Abdalian: Production, Hinge Pictures: Eight Women Artists Occupy the Third Dimension, Mickalene Thomas: Femmes Noires, Meg Turner: Here & Now, and welcomed touring exhibitions from Jacqueline Humphries, Akosua Adoma Owusu, and Senga Nengudi. Together with Siglio Press, she edited artists books with Adam Pendleton and Cecilia Vicuña, as well as the group artists book Hinge Pictures. In 2018, she edited the critical anthology, Postscript: Writing After Conceptual Art. Sanford Biggers: Codeswitch, co-edited with Antonio Sergio Bessa, is forthcoming from Yale University Press. She has taught at Barnard College and New York University. She is an alumna of Stanford University (B.A.) and Columbia University (M.A., M. Phil., Ph.D).

Rivers Institute for Contemporary Art & Thought

Located in New Orleans, Rivers Institute recognizes art as forms of thought, shaped by geographic, social, political, environmental and economic histories. We commit to research at the confluence of diverse bodies of knowledge. We support artists in the construction of alternative futures–literal course shifts in art, landscape, & society—and share transdisciplinary seasons of inquiry on-line, in communities, and in our galleries. Critically positioned at the Mississippi River Delta, at the southern tip of the American South and the upper limit of the Global South, we believe the challenges of the 21st century are not hard to see from here. And yet, Rivers Institute is not defined by any single place, but rather by a set of conditions. Our perspective, informed by both long rootedness and displacement, confers us with a reverence for otherness and curiosity about what we do not know. Rivers carry ideas, goods, and people from here to there, and from there to here. Rivers Institute recognizes exchange and estrangement as tools for radical discovery and empathy. We learn from artists who share in this conviction and provide a context and support for their research and practices. This organization is born both of belief in and experimentation about the potential for an institution, operating outside of financial and historical art centers, to shape art and social histories and futures through rigorous scholarship and equitable, sustainable models of production. In an historically under-resourced cultural economy, we value artists, cultural workers, and the broader networks that support and service art practices. We place value in the ideas that materialize in the margins of books and societies.

Kara Tucina Olidge

Kara Tucina Olidge, Ph.D. is a scholar, arts and educational administrator and the Executive Director of the Amistad Research Center at Tulane University. She is the former Deputy Director of the Schomburg Center for Research in Black Culture, a branch of the New York Public Library based in Harlem. Prior to joining the Schomburg in 2012, Olidge was the Director of the Hetrick-Martin Institute, a nonprofit organization serving lesbian, gay, bisexual and transgender youth in Newark, New Jersey. Her scholarly work focuses on the intersection of art, critical cosmopolitanism and community activism.

Cameron Shaw

Cameron Shaw is the Deputy Director and Chief Curator at the California African American Museum (CAAM) in Los Angeles, where she guides the curatorial and education departments, as well as marketing and communications. Shaw was previously the co-founder and executive director of New Orleans-based Pelican Bomb, a non-profit contemporary art organization that presented a forum for exhibitions, public programs, and arts journalism. She has worked as a freelance writer and editor since 2008. Her writing frequently focuses on the history of Black art and image practices since 1960, and has been widely published, including in The New York Times, Art in America, the New Orleans Times-Picayune, the Los Angeles Review of Books, and BOMB Magazine, as well as in numerous books and exhibition catalogues. She was awarded a Creative Capital | Andy Warhol Foundation Arts Writers Grant for Short-Form Writing in 2009 and the Robert Rauschenberg Foundation | Art in America Writing Fellowship in 2015.


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October 19 / 6:00pm
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