CURATORIAL STUDIO
We blend space making, artistic practice, critical learning pedagogy, and design as a curatorial method for our practice. We showcase contemporary art of living artists who explore histories, realities, and narratives that often go unnoticed and erased. We use art as a tool to build worlds.
Examining The Artist
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Cheyenne Wyzzard-Jones is an interdisciplinary researcher, curator, playwright, and educator whose work spans international development, curriculum development, race and gender studies, reproductive justice, prison abolition, and land sovereignty. Rooted in Critical Race Theory, Black Feminist Discourse, and Spatial Justice Methodologies, their research explores the impacts of globalization, colonialism, and environmental exploitation on Black, Indigenous, queer, and migrant communities. As a Black Indigenous Queer Femme, her positionality in her work stems from both a practice in creative oral and written storytelling alongside a dedication to remembrance that has been passed down to her. Their curatorial practice centers the experiences of the Black Diaspora, global Indigenous communities, and queer futures; creating immersive, multi-sensory spaces for reflection and connection. Cheyenne’s love for curation is rooted in her love for creating spaces where the audience can experience what is, what was, and what could be.
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Artist studio visits are a vital extension of SIP’s practice, offering intimate invitations to the spaces where ideas take form and worlds are built. They allow us to engage deeply with the processes, intentions, and lived realities of contemporary artists whose work surfaces erased histories and overlooked narratives. These visits are not only curatorial tools but also moments of critical learning, where dialogue, design, and space-making blend to shape how we experience and understand art.
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We have a revolving collection of acclaimed artists collaborating to produce admirable work that reflects everyday realities. We curate spaces for artists to connect, engage, and reflect. It is our mission to create conversational pieces and spaces that last beyond a singular moment.
Building The Ensemble
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SIP values ensemble building as practice. How the ensemble is developed is always centered around the theme of the exhibit we are in conversation with. Conversations with artists, community reflections and input, curatorial research explained, kickbacks, outings, dinners, gathering in space outside of an opening, are all ways processes being revealed can be a part of the project. Documentation for how what we are creating came to be is a method of passing down knowledge and contextual understanding of the work.
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We collaborate with artists, community members, organizers, collectives, and organizations when creating our usage of an ensemble. The work we produce is mostly in partnership, or came out of a partnership built on solid foundation for us to produce on our own.
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Click Here to see who we have worked with
Critical Pedagogy
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All of SIP’s exhibits undergo extensive curatorial research before produced.
SIP also independently collaborates with galleries, museums, and arts institutions to write exhibition reviews, catalogue text, essays, book reviews, and other published text.
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SIP is proud to say that all of our exhibitions have offered skill based workshop as a part of programming for community members of all ages.
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SIP is deeply honored to be a part of a community of artists, curators, galleries, and museums who align with our mission and values. This has allowed us to be in conversation with the critical learning and imagination of contemporary art making as we know it today and hope to produce into the future.
We have be a part of and hosted public panels, gatherings, discussions that seek to discuss a variety of topics related to contemporary art practices.
Curatorial Framework: Building Worlds.
Curator, Cheyenne Wyzzard-Jones
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Text.
Text provides written language to a world the curator and artists are building. It helps us share concept and process with our audience, and can be a tool for disruption or solidarity within the field of contemporary art. I value text as a modality and material for an artist to create with, as well as a place for the curator to respond.
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Material.
I collaborate with artists to tell stories through material realities. The history, usage, and production of each material an artist is using is always a part of the conversation. My curatorial framework asks the audience to view the material just as essential to the world we have built as the final product of how the material is used.
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Learning.
Teaching and learning is a communal act, essential to the process of world building. How I engage in a teaching and learning practice as both curator and educator shows up in a plethora of ways. Each world I create exists to help move people through what is call a wheel of inquiry; the practice of engaging with our individual and collective relationship to self, others, and the land.