Abstract

Art school curriculums in institutional settings are often irrelevant to the lived experiences, pathways, and histories of Black students. In this context, in Summer 2021 and 2022, Artspace gallery manager Joshua Vettivelu stewarded a series of projects centring Black students, creating space for open exploration through residencies and research supported by peer mentorship. These projects mobilized a durational approach, pairing small groups of students with slightly more experienced peer mentors over an extended period, in an environment underscored with care and self-direction. In 2021, the it’s real because it happened residency and exhibit allowed participants to explore questions of self-portraiture and perception in collaboration. In 2022, The Black Creative Research Residency (BCRR) project paired a working artist, Shaya Ishaq, with three students to explore questions of optical allyship and Black resistance, culminating in the Knowable Archives, Unknowable Vessels exhibit. This exploration of optical allyship raised questions about allyship communicated through (sometimes shallow) visual signifiers, and in particular explored the works of David Drake – an enslaved potter working in the Antebellum South known for engraving his pots with poetry and his signature – and Josiah Wedgwood – a British potter who made abolitionist pendants for The Society for Effecting the Abolition of Slave Trade. This paper highlights the best practices that emerged from these residencies, such as providing both material resources and immaterial – that is to say, intellectual and relational – support through caring mentorship and relationship building. Furthermore, we explore the tension between both possibilities and limitations of radical care and Black creative practices within institutional constraints.