Storied New York arts nonprofit the Kitchen has appointed Legacy Russell executive director and main curator. Russell, who considering that 2018 has served as affiliate curator of exhibitions at the Studio Museum in Harlem, will consider up her new article in September, succeeding Tim Griffin, who led the corporation for a decade. She will be the first Black girl to head the Kitchen area, a bastion for experimental audio and overall performance art, in the 50 % century due to the fact it was founded.
Russell, who specializes in effectiveness, digital, and net-centered procedures, which she elevated at the Studio Museum, holds a BA from Macalester College and a master’s of analysis in artwork background from Goldsmith’s, University of London. She is the creator of 2020’s Glitch Feminism: A Manifesto, which won widespread acclaim, and of the forthcoming Black Meme, an exploration of the copying and transmission of Blackness by means of memes. A receiver of a 2021 Creative Capital award, she has penned for publications including Art in The us, DIS, Granta, Guernica, Hyperallergic, and Rhizome. She is contributing editor at BOMB and the visible arts editor of Apogee Journal.
“We are extremely fired up to welcome Legacy,” reported Kitchen board chair Greg Feldman in a statement. “She is a visionary whose dynamic ideas and existence will progress and develop our continuing mission of bringing inspiring and match-changing perspectives to the inventive and cultural landscape of New York and outside of.”
Thelma Golden, director of the Studio Museum, congratulated the Kitchen on snapping up Russell, whose appointment she explained as “significant and historic,” while outgoing Kitchen director Griffin identified as the decision of Russell to lead the corporation “thrilling,” telling the New York Times, “She results in visionary relationships amid artists.”
Russell gave the Periods a trace as to how she regards the upcoming part of the Kitchen. “I think deeply about intersections—across Blackness, queerness, feminist histories—and the foreseeable future options of taking hazards,” she explained to the paper, “and how artwork establishments can perform a significant job in generating that achievable, by giving artists the support to just take monumental threats.”