Our exhibitions access crucial developments in the field of contemporary art, and are now conceived to involve presenters and viewers more, and to be as affordable as possible. We promote more collaboration with host institutions, encourage them to modify exhibitions, and work with a range of contemporary art curators to create new flexible projects.
The Curator’s Perspective is an itinerant public discussion series taking place in a variety of venues throughout New York, featuring an international curator who distills current happenings in contemporary art, including the artists they are excited by, exhibitions that have made them think, and their views on recent developments in the art world.
ICI organizes public programs in New York, across the U.S, and around the world that provide a platform for curators to share their research and experiences with the public. Through partnerships with a range of institutions, ICI enables new audiences and curators alike to understand and navigate the rapidly growing field of curating, while also increasing access to current developments in contemporary art internationally.
Through ICI on the Move, ICI is expanding its public programming reach nationally, working with venues that host our traveling exhibitions, developing visiting curator tours, and organizing public discussions at art fairs to bring emerging and established practitioners together to exchange ideas and share their experiences.
The Curatorial Intensive is ICI’s short-term, low-cost training program that offers talented emerging curators the chance to develop their exhibition ideas and, make connections to professionals in the field. It provides the opportunity for peer-group education, forging new networks between aspiring curators internationally.
The Curator's Network is a new professional membership group developed to bring together curators who want to share their work and exchange information with other professionals in the field through a wide range of online resources. The fully tax-deductible annual subscription is $100.
DISPATCH is ICI’s new bi-monthly online journal that features a different curator’s points of view on current developments in art. Practitioners based in different cities around the world are invited to use DISPATCH as their virtual base, building their research over time through text, image, and video.
Members of The Curator's Network gain access to the information we think curators should know about, including an online guide to all things curating and a directory of ICI's network to connect with other colleagues from around the world.
In addition to gaining insider access to contemporary art, ICI supporters directly contribute to the production of our traveling exhibitions and training opportunities. In the past, supporter involvement has allowed artists and curators to explore new ideas and to present compelling contemporary art to diverse audiences. Today, joining ICI means helping us stay dynamic for the next 35 years!
ICI’s annual New York Studio Events series not only grants you intimate access to your favorite artists year round, but also helps ICI respond to the rapidly developing art world of today, ensuring that we connect you with momentous practitioners at the exact time they are presenting significant works.
Celebrate 35 Years of ICI! Join us at ICI's Fall Benefit on Monday, September 20, 2010 at the Puck Building, NYC. Honoring: Gerrit Lansing, Christo & Jeanne-Claude, RoseLee Goldberg, and Doryun Chong.
The Artist Video Profiles are a set of fourteen short films depicting contemporary artists discussing their creative methods and techniques in their private work settings. Created in partnership with Talking Point Films, LLC, the Artist Video Profiles were filmed in artists’ studios during the Fall of 2007 and the Spring of 2008.
A comprehensive list of the curators ICI has worked with to produce innovative traveling exhibitions since 1975.
A partial list of the artists whose work ICI has exhibited since 1975.
In 35 years of operation ICI has organized 116 traveling exhibitions, profiling the work of more than 3,700 artists. The shows have been presented in 590 museums, university art galleries, and art centers in 48 states and 25 countries worldwide.
The following institutions have presented one or more ICI exhibitions.
Welcome to the Press Room, where you can view and download press kits, releases, and images for current and upcoming ICI exhibitions, as well as read recent press coverage of ICI programs.
Independent Curators International (ICI)
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Independent Curators International (ICI)
799 Broadway, #205
New York, NY 10003
Since 1990, ICI has commissioned artists to produce limited edition works to raise funds for its innovative programs and publications. Currently available limited editions include works by John Baldessari, Joseph Kosuth, Dana Schutz, Laurie Simmons and Alec Soth.
ICI is dedicated to producing high-quality and affordable publications to accompany its traveling exhibitions. Visit our store to browse ICI’s roster of over 70 publications.
Curators' talk in North Carolina
August 3, 2010
Watch Jens & Harrell in Winston-Salem via SECCA's YouTube channel (9 parts):
Announcing the final list of People's Biennial artists!
July 16, 2010
Congratulations to the artists who have been selected for People's Biennial!
From Portland, Oregon (and environs)
Ally Drozd with Judge Evans and the Portland Community Court
From Scottsdale, Arizona (and environs)
Beatrice Moore and The Mutant Piñata Show
From Rapid City, South Dakota (and environs)
From Winston-Salem, North Carolina (and environs)
Sylvia Gray (with the Elsewhere Collaborative)
Presley H. Ward
From Haverford, Pennsylvania (and environs)
Cymantha Diaz Liakos
People's Biennial Curators visit: Haverford
June 28 - July 2, 2010
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Philadelphia Live Arts Festival Blog
June 28, 2010
"Harrell explains that the curatorial process, even when curators seek out work from what he calls "obscurity zones" like Phoenix, Grand Rapids, and Portland, Oregon, tends towards artists who have already made a name for themselves. Logistically, this makes sense--with all the work out there, even the most adventuresome curators have a hard time discovering artists who don't already have some kind of commercial representation."
The Cantor Fitzgerald Gallery at Haverford College prepares for Harrell's visit
June 16, 2010
"right now, I feel a bit like mom must feel before a big party. on June 28, 2010, Harrell Fletcher, one of the curators for People’s Biennial, will step off a plane from Portland for a 5 day visit, and we want his time at haverford to be memorable. we are pulling together a list of philly sites for him to visit and gathering artist submissions for the big show."
Read more on David Richardson's People's Biennial blog for Haverford College. Here you will learn about the events taking place during Harrell's visit, learn how to submit or recommend work if you are from the Philadelphia area, and read about the process from the perspective of a presenting venue.
People's Biennial Curators visit: Winston-Salem
May 20 - 22, 2010
Born in and from “the periphery,” the People’s Biennial, the Southeastern Center for Contemporary Art (SECCA), and their founding missions seemed destined to convene. SECCA was established in 1956 to provide exhibition space for southeastern artists who felt marginalized in a national context. Working as both catalyst and advocate, the scope of the organization subsequently grew to include thirteen southeastern states by the late 1960s. In more recent years that vision has become international in scope, but with an enduring concern for the issues and idiosyncrasies that shape the region. However, as previously under-represented Southern artists move fluidly into mainstream cities, the organization’s historical reason for being slides into question. Faced with redrawn territo-ries and proliferating galleries throughout the southeast, SECCA wrestles with questions of site-based identity, provincialism, and the imploding binary of center v. margin. Stand-ing inside and outside its namesake at once, SECCA’s peripheral predominance has consequently been replaced with the re-visioning of a “center” that – in geographic, se-mantic, and organizational terms – seems more elusive, and more fertile, than ever.
In this context, People’s Biennial is a timely, and very necessary platform to address the question of what being an “outsider” means today as an artist, an institution and a city. As a concept, exhibition and campaign, it navigates the ambiguous terrain between the Duchampian notion that everything can be art, and the hegemonic assimilation of objects made outside the discourse of “art.” As the co-curators of People’s Biennial step outside the usual parameters of the art world, their aim to find (and celebrate) people making/doing fascinating things unbeknownst as “art” raises captivating social questions. In an age of decentralized information/news, digital communication, self-publishing, and near instantaneous exhibition platforms on YouTube, FaceBook, personal websites and blogs, one no longer needs to wait for discovery. Bypassing the traditional (and often proprietary) enlistment of outsider artists by agents and galleries, the Enrichment Center in Winston-Salem offers a case in point – providing artistic training, exhibition space, and commercial opportunities for adults with disabilities. Flea markets, social networks and guerilla installations provide parallel avenues for other would-be artists – turning the in-side/outside binary, inside out.
Within the slurry, People’s Biennial plays out questions concerning authenticity, originality, and the often incestuous/imperial nature of art world dynamics. As SECCA has set out to actively solicit submissions from across the state, we’ve been met with a wide spectrum of reactions. For one, the rapid growth in the number of practicing artists has created a situation where competition for recognition is fierce. As such, the desirable opportunity given to purported “outsiders” to show work across the country (and have it included in a catalogue) has been met with disdain by “insiders” struggling to get a foot in the door. This response is especially understandable when considering the exotic value placed upon “outsider” artists by a system that covets the problematic nature of “purity.” The commercially-driven search for, and colonization of people making saleable artworks outside institutions has consequently led to constructed biographies, charlatans, and suspicions being cast across the entire enterprise. It has also created a backlash effect where many of those operating outside the system are doing so purposefully, and in active resistance to institutional discovery/exploitation. For these individuals, staking an “outside” position is more a matter of choice than circumstance.
At this ambivalent intersection, People’s Biennial opens up intriguing hybrids to individuals who had little previous knowledge about the co-curators, the biennial model, or Independent Curators International. Some are flattered by the invitation to participate in the project; some are bewildered; some are apathetic; others refuse. There is no discernable pattern at any point in the solicitation, but the fray we see unfolding says a great deal about the sometimes-contentious nature of this project. The events SECCA organized to introduce Fletcher and Hoffmann to the local community cast special light upon the People’s Biennial’s impact upon communal dynamics. Few participants from the pre-existing Winston-Salem art community attended, but the unifying theme that emerged at both the opening talk and ensuing “Show & Tell” event was one of camaraderie and exchange. With Hoffmann and Fletcher as catalysts, social clusters arranged themselves as finalists in the selection process shared their work with one another, as well as volunteers, passersby and a curious public. From traditional media (painting, photography, drawing, ceramics) to all manner of the untraditional – including dioramas, carved knife handles, custom designed shoes, facejugs, bicycle tricks, bottle labels, medical illustrations, and a Trojan Chicken made from stirsticks – common ground was found in, and through dialogue. No definitive answers regarding the role or place of “the periphery” emerged, but the questions surrounding them grew more compelling.
Beyond an exhibition model, a catalogue or a curatorial hypothesis, this is a social experiment where every action/incident/response is part of the ultimate project. As fodder for discourse, People’s Biennial has already succeeded before a single catalogue page is printed, or a single work goes onto the wall. Its anthropology, like that SECCA lives in the Southeast, will unfold outside conventional notions of “the outside.” Whether one is inside, external, on the fence, or passing through, the reaction to/for/against this project is a critical part of its evolving constitution.
Curator of Contemporary Art
Southeastern Center for Contemporary Art
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Radio Interview on 88.5 WFDD, Winston-Salem
April 20, 2010
Listen to an interview with Harrell Fletcher and SECCA's curator Steven Matijcio on 88.5 WFDD's Triad Arts Up Close. The two discuss the concept of the project, the call for submissions to SECCA, and the upcoming curator visits to Winston-Salem on May 20th - 22nd.
People's Biennial Curators visit: Rapid City
April 8 - 10, 2010
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Dahl Mountain Culture Festival Magazine
April 1, 2010
"The Dahl Arts Center is dedicated to choosing art for exhibitions based on community input, as well as to reflect all cultures in our region. It is the only arts center of its size in the region that engages a committee of community members-at-large to do this work. Most museum exhibitions are chosen solely by professional staff. The People's Biennial project extends the existing Dahl Process and opens an opportunity for regional artists to be chosen and exhibited across the country in a grassroots process."
April 1, 2010
"At this ambivalent intersection, the People’s Biennial opens up intriguing, and very necessary alternatives to an insider/outsider binary that continues to break down at every turn. In its wake, we are meeting people that gingerly traverse the public/private exhibition of their work. Some are flattered by the invitation to participate in the People’s Biennial; some are bewildered; some are apathetic; others refuse. There is no discernable pattern at any point in the solicitation, but the fray we see unfolding says a great deal about the importance of this project.
Beyond an exhibition model, a catalogue, or a curatorial hypothesis, this is a social experiment where every action/incident/response is part of the ultimate project. For those of you still reading, I encourage you to spread the word about People’s Biennial to every contact you have, and to pay special attention to the creative acts circulating through your surroundings. Whether inside, outside, on the fence, or passing through, your reaction to/for/against this project is a critical part of its evolving constitution."
Read more... Artforum's 500 Words by Harrell Fletcher
April 1, 2010
"The show was partially inspired by the artist Michael Patterson-Carver (not to be confused with Michael Bravo), whose career I helped launch. When I first met him he was selling his drawings on a sidewalk in Portland, Oregon, and now he has had shows in galleries and museums in New York, Paris, London, and Brussels. Not that I think there is anything wrong with showing your work on the street, but it is also nice to be able to break down the walls that normally prevent artists like Patterson-Carver from showing in mainstream art venues.
I want to level things out by drawing attention to work being made outside of standard art world circles. I’m not interested in hierarchies or creating distinctions between different kinds of people and the work they make based on where they live or whether or not they have a MFA. I think this kind of expanded view of what qualifies as 'art' and who can be called an artist, ultimately makes for a more interesting art world and world in general."
"The art community grapevine in this Valley is about three inches long, so it didn't take much time for me to get calls concerning a recent, very heated panel discussion at Scottsdale Museum of Contemporary Art (SmoCA) about a show that's been proposed called 'People's Biennial.'"
Some thoughts following the first People’s Biennial visit to AZ…
As a contemporary art curator, I grapple with my living and working in Arizona and thus my access to the larger art world center. I sometimes feel removed and out of the loop—longing to be able to attend the thought-provoking exhibitions, events and talks in New York or Los Angeles that I read about. And I wouldn’t mind if more of my colleagues could experience my own work first-hand. Yet, I relish the freedom to operate in an environment that allows me to experiment. Moreover, as one of a handful of contemporary curators in this community, I may hope to make a larger impact on my audience than I might in a larger art center. It is likely that this same dichotomy exists for artists working here. Consequently, I thought the People’s Biennial would be a valuable project for the Scottsdale Museum of Contemporary Art and one in which I wanted to participate.
The notions of periphery and center are integral to the concept of the People’s Biennial. For the curators, the terms are intended to apply not just to geography, but also to artistic and curatorial practice. Initially, I had been concerned that these ideas of periphery and center presented were conflated and therefore problematic. This aspect of the project is both fascinating and has been difficult for many in this community to understand. The practices of making and curating art are loosely and rather nebulously defined; they operate on a spectrum ranging from traditional conceptions to totally unexpected forms. However, as I came to understand the intentions of Jens Hoffmann and Harrell Fletcher, I realized that blurring of boundaries and semantic reconsidering is precisely the point. A particular challenge for me in light of the artistic production in this community is drawing a clear line between professional and nonprofessional artists—which is exactly why the project is provocative.
Jens and Harrell have uniquely open ways of encountering the world. After exploring my community with them, I felt inspired, like I had a new lens with which to view my city. I find myself noticing things more now, paying attention to church architecture as Harrell did and keeping an eye out for piñata stores and good hand-painted signage. I also realized that it was refreshing to discard the labels and categories that had previously concerned me. So maybe this exhibition will not be an opportunity for our smart and talented local artists to be considered for a biennial and gain national recognition, but it will surely be an opportunity for all of us to rethink why we value things like biennials, curating, or art in the first place.
Scottsdale Museum of Contemporary Art
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People's Biennial Curators visit: Portland
February 6, 2010
Artist/Curator Harrell Fletcher, PICA visual art program director Kristan Kennedy, and ICI executive director Kate Fowle discuss the upcoming ICI exhibition People's Biennial at the Lumber Room. Click here to be sent directly to YouTube.
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The People’s Biennial blog follows and documents Harrell Fletcher and Jens Hoffmann’s visits to Portland (OR), Scottsdale (AZ), Rapid City (SD), Winston-Salem (NC), and Haverford (PA), as the curators explore each community to conduct research, participate in lectures and roundtable discussions, and ultimately select works by local, non-established artists for the two year touring exhibition.
People’s Biennial is a traveling exhibition organized and circulated by ICI (Independent Curators International), New York. Guest curators for the exhibition are Harrell Fletcher and Jens Hoffmann. The exhibition, tour, and catalogue are made possible, in part, by a grant from the Elizabeth Firestone Graham Foundation; the Horace W. Goldsmith Foundation; ICI Benefactors Agnes Gund, Gerrit and Sydie Lansing, Jo Carole Lauder, and Barbara and John Robinson; and the ICI Partners.
About the Curators:
Harrell Fletcher is an artist who has worked collaboratively and individually on socially engaged, interdisciplinary projects for more than fifteen years; his work has been exhibited throughout the United States, and in Europe. He is a professor of art and social practice at Portland State University in Portland, Oregon.
Jens Hoffmann is director of the CCA Wattis Institute for Contemporary Arts, San Francisco and co-curator of the 12th International Istanbul Biennial. He has curated over three dozen exhibitions since the late 1990s. He was director of exhibitions at the Institute of Contemporary Arts in London from 2003 to 2007. Hoffmann is an adjunct professor at the California College of the Arts, San Francisco, a guest professor at the Nuova Accademia de Belle Arti, Milan and a faculty member at Goldsmith College, University of London.