Kitchen, the non-profit arts sector in Chelsea, is celebrating its 50th anniversary this year. its Time Couples as a history of downtown experimentalism: it has helped to reveal artists such as Laurie Anderson and Simone Leigh, while privileging consistent research practices, bold formats, and cross-disciplinary exchange.
Now heritage russell In September he was succeeded by Tim Griffin as executive director and chief curator. Russell has been associate curator of exhibitions at the Studio Museum in Harlem since 2018.
A dynamic curator with a strong interest in performance, digital and Internet-based practices, Russell expanded the Studio Museum’s investments in those areas. He is also a theorist admired 2020 book,”Glitch Feminism: A Manifesto,” and a second book, “Black Meme,” forthcoming.
In a telephone interview, Russell described growing up in the East Village, which he referred to as a “broad constellation” of downtown progressive arts venues, including The Kitchen, as well as the club scene. From the culture of those places, she said, she learned that creating art events isn’t just about programming, but it’s also about “how to center the body in doing that work—the humans who care and care.” “
He earned a bachelor’s degree in Art History from the Department of Visual Cultures Goldsmiths, University of London. Griffin said she would be the first black executive director of the kitchen.
In a telephone interview, Griffin praised Russell’s “macro understanding of the arts field”, saying: “She creates visionary connections between artists.” And in an email, Studio Museum director Thelma Golden described Russell as “a leading author, theorist and curator of his generation, extremely alert to the present moment and fearless in his exploration of future possibilities.”
Russell said the kitchen’s longevity testifies to the force of avant-garde art even in a city that has become more expensive and complex for artists, and has been hit by the pandemic.
He said his role would be to take that momentum forward.
“I think deeply about the intersections — blackness, queerness, feminist history — and the future possibilities of risk-taking,” Russell said, “and how art institutions can play a key role in making this possible, with artists taking memorials.” by supporting. risk. “