See Black Art.
Residents of The Black Embodiments Studio explore Seattle to see as much contemporary black art as possible. Throughout the term, residents regularly visit galleries and institutions exhibiting work by black artists, including the Seattle Art Museum, The Alice gallery, The Frye, The Henry, Jacob Lawrence Gallery, Mariane Ibrahim Gallery, Martyr Sauce, SOIL, Method, On the Boards, Langston Hughes Performing Art Center, Northwest African American Museum, Photographic Center Northwest, and more.
Read Arts Writing.
The Black Embodiments Studio steeps residents in models of writing that bridge academic and art audiences. This includes the variety of writing genres that help us to frame art: exhibition catalog essays, short-form reviews, wall text, in-depth artist profiles, and more. Residents take in a broad overview of arts writing surrounding black art that is exhibited nationally, reading this alongside arts writing that is local to Seattle.
Meet With Makers.
Each quarter, visiting artists, scholars, and curators are invited to be in residence with The Black Embodiments Studio for two days. Residents gain intimate contact with leading thinkers and makers whose relationships with arts writing models diverse methods for entering into and engaging with black embodiments. Guest visitors run closed workshops with residents and give public lectures on their practices.
In all, residents gain important access to artists, scholars, and curators whose work on contemporary black embodiments models the innovation, accessibility, and flexibility as well as criticality that residents strive for in their own writing.
The Black Embodiments Studio develops writers whose work bridges the kinds of criticism that is staged in academic writing, contemporary art writing, and writing in the larger public sphere. Over the course of a residency, then, residents develop their own pieces of art criticism meant to be published in leading art journals, regional coverage, and in their own thesis projects alike.
As residents expand their own critical, research, and interpretive skills in conversation with how black embodiments are manifest in arts practices, they press against the increasingly outmoded writing styles required to secure legitimacy in the academy. Residents simultaneously become part of an important corps of writers who possess creative and engaging writing skills as well as the research and interpretive skills needed to historicize and contextualize black aesthetic practices through the prism of political economy.