Over the course of RAW Académie at ICA: Infrastructure’s seven weeks, Artistic Director Linda Goode Bryant will work to reimagine the possibilities for an alternative arts infrastructure with an interdisciplinary roster of visiting faculty—including Gudskul, Arthur Jafa, Louis Massiah, Bryant Wells, and Sarah Workneh.
The session’s investigations will be explored over time in the ICA galleries and will be shared through a series of public-facing events viewable below.
April 20, 2022
Bryant Wells shares methods of distribution that antagonize prevailing methods inherent to the institution. Over the course of the sixth week, Bryant has aided the fellows in developing their new model for infrastructure.
April 15, 2022
Sarah Workneh invites and works with the fellows to expand their own practices within the context of infrastructure. As the fellows begin drafting and proposing new concrete ideas for arts infrastructure, Sarah provides feedback on their proposals and guidance on how they might push their thinking further.
April 13, 2022
Gudskul share stories and engage with fellows through games about embracing and developing the collectivity as an aspect of building infrastructure. Within a collective model, the permission to fail and the asynchronous rhythms of collaborators becomes an integral part of the system itself.
March 18, 2022
Introduction to RAW Académie: Linda Goode Bryant, Marielle Ingram, Marie Hélène Pereira, Dulcie Abrahams Altass, & Alex Klein
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.
March 16, 2022
Arthur Jafa: Life as a Cactus vs. Now, Entering the Infrastructure
Arthur Jafa discusses the relationship between artists and the larger art infrastructure, drawing on his experiences as an artist and filmmaker navigating art institutions such as museums and galleries, while also working within and around the commercial film industry.
Arthur Jafa (b. 1960, Tupelo, Mississippi) is an artist, filmmaker and cinematographer. Across three decades, Jafa has developed a dynamic practice comprising films, artifacts and happenings that reference and question the universal and specific articulations of Black being. Underscoring the many facets of Jafa’s practice is a recurring question: how can visual media, such as objects, static and moving images, transmit the equivalent “power, beauty and alienation” embedded within forms of Black music in US culture?
Jafa’s films have garnered acclaim at the Los Angeles, New York and Black Star Film Festivals and his artwork is represented in celebrated collections worldwide including The Metropolitan Museum of Art, The Museum of Modern Art, The Tate, The San Francisco Museum of Modern Art, The Studio Museum in Harlem, The High Museum Atlanta, The Dallas Museum of Art, The Museum of Contemporary Art in Chicago, Stedelijk, Luma Foundation, The Perez Art Museum Miami, Los Angeles Museum of Contemporary Art, The Hirshhorn Museum and Sculpture Garden; and the Smithsonian American Art Museum, among others.
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, Alexandra Nash, and by Dana McDonald Strong & Mark W. Strong.