Linda Goode Bryant, Artistic Director for RAW Académie at ICA, introduces her vision for the session in Philadelphia and her work towards creating a different arts infrastructure. Joining her in conversation are Marie Hélène Pereira and Dulcie Abrahams Altass of RAW Material Company, Marielle Ingram, and Alex Klein, ICA’s Dorothy and Stephen R. Weber (CHE ’60) Curator, to reflect on their multi-year dialogue and resulting institutional collaboration.
Proof of vaccination will be required for on-site attendance
Live captioning will be provided on-site and over Zoom.
This program will be followed with a celebratory event open to the public.
LINDA GOODE BRYANT (b. 1949, Columbus, OH) creates functional spaces she calls “living installations” that involve people in collaborative activities and creative actions capable of changing conditions where they live. Art that is meant to be discovered, experienced and lived during daily life. Art with real life consequences. Just Above Midtown Gallery (JAM) was her initial space. Started in 1974, it was the first gallery to showcase work by African American and other artists of color in a major gallery district. After producing “The Business of Being an Artist” documentary, she shifted JAM’s focus to provide artists with space and money to experiment and create freely, away from art market pressures. She began making films in the 1990s and co-produced “Flag Wars” with Laura Poitras in 2003 which received an Emmy nomination and numerous awards including a Peabody Award. In 2004 she created Active Citizen Project (ACP) to involve disenfranchised and non-voting youth and adults around the country in creating and campaigning for local and national platforms that addressed issues and solutions they wanted implemented. Her current “living installation” is Project EATS, which joins with residents in New York City’s low-income communities to create small plot, high yield vegetable farms where fresh, healthy food is needed. Linda has a Master of Business Administration from Columbia University and a Bachelor of Arts degree in painting from Spelman College.
MARIELLE INGRAM is a writer based in Brooklyn. She has contributed to exhibitions and programs at the Art Institute of Chicago, Gallery 400 in Chicago, Washington Park Arts Incubator, MoMA PS1, and the Museum of Modern Art, New York. Her writing and film projects have appeared in art publications such as Real Life, Artforum, Take Shape X-TRA and MIT Thresholds. She holds a B.A. in Philosophy from the University of Chicago.
MARIE HÉLÈNE PEREIRA is Curator and Director of Programs at RAW Material Company where she has organized exhibitions and related discursive programs including the participation of RAW to “We face forward: Art from West Africa Today” Whitworth Art Gallery, Manchester; ICI Curatorial Hub at TEMP, New York; The 9th Shanghai Biennial, Shanghai; MARKER Art Dubai (2013). She co-curated Scattered Seeds in Cali-Colombia (2015-2017) and curated Battling to normalize freedom at Clarkhouse Initiative in Mumbai, India (2017). Pereira was a co-curator of Canine Wisdom for the Barking Dog – The Dog Done Gone Deaf. Exploring The Sonic Cosmologies of Halim El-Dabh at the 13th edition of Dakar Biennale of Contemporary African art (2018). In 2021 she was selected as one of the recipients of the ICI Curatorial Research Fellowship – a Marian Goodman Gallery initiative conceived by artist Steve McQueen in honor of the late Okwui Enwezor. Pereira is a member of Kader Attia’s curatorial team for Berlin Biennale 12. She has a strong interest in politics of identity and histories of migration.
DULCIE ABRAHAMS ALTASS is a British curator and art historian who lives in Dakar, Senegal. She is Curator of Programs at RAW Material Company in Dakar where she has co-curated numerous exhibitions including Toutes les fautes qu’il y avait dans le monde, je les ai ramassées (2018) and PO4 (Blackout) (2019). Recent discursive projects of note with RAW Material Company include Kan jaa ta; From the shadow into the light (Bamako Encounters Photography Biennale, 2019) and Condition Report 4: Stepping out of line; Art collectives and translocal parallelism (Dhaka Art Summit, 2020). Her work in Senegal has included research on diverse topics ranging from the country’s performance art history to the nexus of hip hop and contemporary art in the country, and her writing has been published in SUNU Journal, Making & Breaking, ESPERANTO and Obieg. Dulcie has also been a member of artist’s collective Les Petites Pierres.
Programming support for RAW Académie Session 9: Infrastructure is provided by the Sachs Contemporary Art Fund and the Dolfinger-McMahon Foundation.
Programming at ICA is made possible in part by the Emily and Jerry Spiegel Fund to Support Contemporary Culture and Visual Arts and the Lise Spiegel Wilks and Jeffrey Wilks Family Foundation. Public and Student Engagement at ICA is supported by the Bernstein Public Engagement Fund, Suzanne Weiss Doft & Jacob W. Doft, Hilarie L. & Mitchell Morgan, the Nash Family Foundation, and by Dana McDonald Strong & Mark W. Strong.