The Andy Warhol Foundation for the Visual Arts


Curatorial Fellowships


Lawrence Kumpf
Blank Forms, New York, NY
In preparation for a large scale retrospective of the work of Maryanne Amacher in 2019, Blank Forms has partnered with the artist’s archive (founded after her death in 2009) to preserve the documents of her practice through the digitization of audio and video materials and to advance public and scholarly engagement with them. A pioneering sound artist, Amacher’s interest in perception, sound spatialization and creative intelligence was influential in the development of network culture, media arts, acoustic ecology and sound studies. Despite her highly original thinking (or perhaps because of it) her work is not at all well known. Director Lawrence Kumpf will organize two three-day seminars and two listening sessions (at the Kitchen) that will bring artists and scholars together to discuss themes in the work, forge connections between Amacher’s artistic practices and the practices of those influenced by her, and collectively imagine the shape and form of the exhibition. “Aural Architecture and Virtual Reality” will look at Amacher’s large scale installations in a historical and theoretical context . Amy Cimini and Bill Deitz will lead conversations among panelists Juan Navarro Baldeweg, Ernst Caramelle, Keiko Prince from the Center for Advanced Study at MIT, filmmaker and curator Kathy Brew, and augmented reality pioneer Scott Fisher. The second seminar “Structure Born Sound’ will function as a workshop on the technical execution and staging of Amacher’s material with input from a group of musicians and artist practitioners familiar with her work. In addition to these gatherings, some parts of which will be open to the public, some not, Blank Forms is collecting Amacher’s out-of-print and unpublished essays, project notes, performance materials, ephemera, letters, and interviews for a book that will make this material available to audiences for the first time.

Amanda Gilvin
Davis Museum at Wellesley College, Wellesley, MA
In 2019, Amanda Gilvin will curate an exhibition of the work of Nigeria born, Ontario-based multi-media artist Fatimah Tuggar investigating the ways race and gender shape human understandings of technology and the home. In preparation for the show, Gilvin is organizing a series of seminars at that will invite international artists and scholars working at the nexus of African contemporary art and new media to discuss Tuggar’s work with members of the Wellesley faculty from the arts, humanities, social sciences, natural sciences and computer sciences. These conversations will help shape the catalogue and the exhibition’s public programs. In order to support a planned commission of a new augmented reality work, Gilvin will travel to Kano, Nigeria, where the artist will be doing her own research into the indigo-dying industry. In Lagos she will conduct further conversations with the artist as well as with Nigeria-based new media scholars, artists and producers. Gilvin will also visit four sites of digital innovation: the Fak’Udesi African Digital Innovation Festival in Johannesburg; Eyebeam and Hyphen-Labs, “an international team of women of color working at the intersection of technology, art, science and the future” based in New York; and artists and curators working with virtual reality and augmented reality in London.

Sydney Stoudmire
Independent Curators International, New York, NY
After participating in ICI’s Curatorial Intensive in Manila last fall, emerging curator Sydney Stoudmire developed plans to assess, evaluate and address the lack of diversity within the curatorial field and to research ways to confront the impact of structural racism on arts institutions and discourse. In order to help her carry out this research, ICI will give her access to the its network of curators and art centers in all 50 states and will host a series of closed-door conversations among professionals on the topic, as well as a pubic symposium. As part of her research, Stoudmire is developing CURRENT, a residency for women curators from underrepresented backgrounds. Ongoing adjustments and refinements will explore the role of intersectional arts activism in curatorial training and will attempt to counteract the marginalization of curators who cannot or do not choose to follow traditional academic paths. Research into other non-traditional residency programs and self-paced learning platforms will include trips to lands edge, an autonomous pedagogical platform located in South and East Los Angeles that nurtures the voices of cultural producers who are committed to social transformation; “Beyond the Frame” a mentoring initiative of the UK-based International Curatorial Forum that facilitates convenings for curators from diverse backgrounds to discuss issues of curatorial practice in the context of key events in the international arts calendar; Fire Station in Dublin; Fresh Milk in Barbados and virtual participation in Berlin-based Node Center for Curatorial Studies Online. In addition to broadening her own exposure to experimental curatorial practices, Stoudmire’s research will enable her to build and eventually launch a final version of CURRENT, a platform that promotes more inclusive, equitable, and accessible curatorial training.

Laurel Reuter
North Dakota Museum of Art, Grand Forks, ND
Not many people know that Grand Forks, North Dakota, home to the North Dakota Museum of Art, is also the center of drone technology development in the U.S. and the site of the country’s first unmanned airport. The state has spent over $34 million to foster the unmanned aerial vehicle industry and the economic, scientific and military repercussions throughout the state – and the country - are profound. What is less obvious is the impact that the burgeoning industry has on intellectual and cultural life. Laurel Reuter, Director of the Museum, is undertaking a research project to uncover just that, by exploring the work of local, national and international artists who employ drones in their creative work. She began by attending the Drone Film Festival this past year in New York; through the connections she made with participating artists, she has begun to map out the variety of ethical, political, technical, and moral issues that artists engage with when they work with drones. In collaboration with the University of North Dakota’s Department of Aviation and the Center for Unmanned Aircraft Systems Research, Education and Training Reuter will organize symposia and outreach programs that integrate the perspectives of industry specialists, academics and trainees with those of artists. Travel to the Middle East and to parts of South America, particularly Colombia, where military drones are part of daily civilian life, will enable her to meet artists whose political context can further illuminate the complexities of our own.

Ekrem Serdar
Squeaky Wheel Film and Media Art Center, Buffalo, NY
Using the concept of needlework—sewing, stitching, weaving and other needle-based activity—as a material and metaphorical underpinning, Media Arts Curator Ekrem Serdar is organizing Punctures, an exhibition that will examine the relationships between film, media and textile arts. His research will center around questions gendered labor in domestic, industrial, and artistic fields, along with the material and immaterial underpinnings of 20th and 21st century art and industry. Serdar will travel to the Dakar and Shanghai Biennales and while in China will visit Shaoxing, commonly considered the capital of contemporary garment production. He will organize two convenings in Buffalo that bring together historians and curators of textile arts, with artists, curators, and scholars whose work with textiles and media art practice. He will also attend VERSIONS, an annual conference dedicated to virtual reality that takes place at the New Museum and the Vector Festival in Toronto, dedicated to experimental video games. Finally, participation in ICI’s Curatorial Intensive in New Orleans (on a full scholarship), and visits to the Rhode Island School of Design and the California College of Arts will expose him to curatorial and academic colleagues who can help to shape his thinking.

Jon Rubin and Dawn Weleski
The Studio for Creative Inquiry at Carnegie Mellon University, Pittsburgh, PA
Based in Pittsburgh, Conflict Kitchen is a restaurant and artist-driven education project that prepares and serves meals from countries with which the United States is in conflict, including Iran, Afghanistan, Venezuela, Cuba, North Korea, Palestine, and the Haudenosaunee Confederacy. It promotes dialogue and intercultural exchange by presenting the food, culture, politics and personal stories of citizens of the focus countries and their diasporic communities. Publications, events, performances, workshops and discussions are developed for each iteration, giving a platform to immigrant communities and a chance for others to gain a more nuanced understanding of their cultural, political and socioeconomic situations. In response to recent changes in international and domestic policies, co-founders and co-directors Jon Rubin and Dawn Weleski are researching new focus regions (such as Syria) and exploring ways to expand the project both within Pittsburgh and nationally. The fellowship will support the co-director’s to travel to select American cities in order to investigate the potential for Conflict Kitchen iterations throughout the U.S. Conflict Kitchen will meet with potential partners throughout the U.S. that can offer the community connections, organizational capacity, and funding to launch and sustain their own versions of the project, while maintaining consistent fidelity with the original mission and vision of Conflict Kitchen. At a moment when anti-immigrant rhetoric is at an all-time high, the expansion of an initiative that highlights the vital contributions of immigrants to culinary, social, cultural and economic life is urgent.