We’re proud of the lifelong, mutually supportive relationships that form between artists, curators, critics, and creatives at the Wassaic Project. These relationships are vital to their practices, and emerge out of the opportunity to share space and time together beyond a 30-minute studio visit.
To that end, our critics-in-residence program awards four one-week residencies each winter. These residencies include housing, a studio, and an honorarium. In exchange, critics-in-residence make studio visits with Wassaic Project artists-in-residence, conduct in-depth interviews with two or more residents for our artist profiles, participate in the artistic community of the residency, and give a presentation about their practice.
But beyond studio visits and interviews, critics-in-residence are free to spend their time how they like. Some might spend their time in a mad creative rush, while others might take the time to just chill out and catch up on a book. Each resident finds their own way in the program based on what their practice needs.
At this time, the program is by invitation only.
Winter 2019 Critics-in-Residence
Horace Ballard is assistant curator at the Williams College Museum of Art. He specializes in American art of the eighteenth, nineteenth, and twentieth centuries. He is particularly interested in the history of photography, ideologies of Romanticism, gender in early-American portraiture, the visual culture(s) of war, and the formulation of queer canons across the history of art. He received a Ph.D. from Brown University and is currently preparing a book manuscript, entitled, “The Re-construction of Beauty: Photography, Whiteness, and US Masculinity, 1865-1900.” He has held prior positions at the Museum of Art of the Rhode Island School of Design (RISD); the Yale University Art Gallery; the Birmingham Museum of Art; and Monticello/Thomas Jefferson Foundation. He also serves as a freelance writer and consultant on the black radical tradition and post-black art practices, writing and editing for the Smithsonian; the Vera List Center of Art and Politics at the New School; the Studio Museum in Harlem, and Galerie Myrtis in Baltimore.
La Keisha Leek is an independent arts worker and writer. Most recently she was Manager for the Kenan Project at The Metropolitan Museum of Art, where she worked with arts organizations, artists, educators and cultural planners to explore the impact of arts in and with communities through collective learnings, residencies and public engagement. Prior to The Met, she worked with creative and cultural organizations across Chicago to manage projects, and produce exhibitions, programs and individual artist projects in full-time and freelance capacities. She was a Gaylord & Dorothy Donnelley Foundation Curatorial Fellow (2016), Independent Curators International Curatorial Intensive participant in Dakar, Senegal, and a Chicago Artists Coalition HATCH Projects Curatorial Resident (2014–2015). Her publication How to Make A Hood (Candor Arts, 2015) is a collaborative meditation on the misconceptions of Black bodies and their environment, and lives as an extension of her 2014 exhibition of the same title. The publication has been acquired by special collections including The Joan Flasch Artists' Book Collection, School of the Art Institute of Chicago; Robert B. Haas Family Arts Library, Yale University; Houghton Library, Harvard University; Pacific Northwest College of Art; and the New York Public Library amongst others. She received her BA in Art History from Columbia College Chicago.
Sarah Potter is the founder and owner of SP Projects, an independent art advisory and consulting business based in New York. With more than a decade of experience in the fine art world, Sarah has placed an emphasis on curating private and corporate collections with artwork that is aesthetically satisfying and a good financial investment. With a discerning eye, she utilizes her passion for modern-day mysticism, spirituality, and the occult to create experiential exhibitions of innovative artwork and memorable performances. Referred to as “The Good Witch of the Art World,” Sarah possesses a unique approach and philosophy to her work by intuitively assisting both new and seasoned collectors to connect with artwork to inspire their minds and nourish their spirits. In 2017, Sarah expanded her business to include workshops and lectures based on her life long study of the power of “Color Magic” a practice which allows one to use the full color spectrum with intention to manifest all desires.
Prerana Reddy is Director of Programs at A Blade of Grass, a nonprofit that supports the field of socially engaged art through financial support for artists, public programming, and content creation. Previously she was the Director of Public Programs & Community Engagement for the Queens Museum from 2005-2018 where she organized screening, talks, festivals, exhibitions, and performances, many of which were developed in collaboration with diverse local community organizations and cultural producers. She was also in charge of the museum's community engagement initiatives that combine arts and culture with social development goals in nearby neighborhoods predominately comprised of new immigrants. These included the museum's offsite immigrant arts & education center Immigrant Movement International and the design and ongoing programming of Corona Plaza. Reddy holds a master’s degree in Cinema Studies, with a focus on documentary and visual anthropology, from New York University’s Tisch School of the Arts.
Banner photo by Verónica González Mayoral