From December 2021 to February 2022, with support from the Emily Hall Tremaine Foundation, Hyperallergic selected five curators for month-long fellowships to demystify their work and reveal what’s going on in their curatorial practice. Each fellow received a $5,000 grant to create an email exhibit for hyperallergic subscribers, write articles related to their research, and present and discuss their exhibit at an online event.
Director of the Kiowa Tribal Museum Tahnee Ahtone explored how conservation for a Native American community connects to the realities of Indigenous sovereignty and why it is crucial to include tribal governments when looking at historical and artistic material related to their communities. In her email exhibit, she gave readers an exclusive tour of the Kiowa tribe’s educational murals, the first time they have been shown to the public outside of the tribe. See the exhibition and the presentation video.
Cultural organizer and curator La Tanya S.Autry wrote about his curatorial project Contemplating, making the world black, which explores how black people challenge persistent precariousness while loving themselves through modes rooted in black liberation and anti-colonial pedagogies. His email exhibit featured behind-the-scenes notes from the development of the project alongside the work of artist Sheila Pree Bright. See the exhibition and the presentation video.
Frederique Simmons discussed “conscious conservation” while researching the life and work of Bessie Harvey, a self-taught artist from the black American South who created multimedia assemblages from materials located in the woods surrounding her home. Simmons’ intimate e-mail exhibition featured a selection of Harvey’s art, focusing on how she imbued her work with complex ideas about humanity, racism and religion while retaining its contemporary identity. See the exhibition and the presentation video.
Dan Cameron used his scholarship to return to Chiloé, an island off the coast of Chile that he visited for nearly a decade to test unexplored possibilities of locating, caring for and presenting art. He shared his thoughts on the curatorial appeal of the island and how his process has evolved as a result of establishing a relationship with Chiloé and its people, featuring pieces by various local artists in his exhibition by email. See the exhibition and the presentation video.
Artist and curator Jeremy Denis discussed the historical art legacy of the Shinnecock Indian Nation, of which he is an enrolled member. His email exhibit surveyed the past and present of the nation’s longstanding presence on what is now known as Southampton Village on Long Island, New York, and highlighted works of Outcrop — Indigenous Art Nowthe group exhibition he curated for the Southampton Arts Center in Spring 2022. See the exhibition and video presentation.