That was such a defining exhibition for the museum and the contemporaryįeel super lucky to have come in at the tail end of Third Space. Like? It must have been really interesting for you to arrive at the Birmingham You’ve been in Birmingham around a year now. Museum, you get a real opportunity to work intensively on multiple exhibitions, As part of the curatorial team at the Studio It provides a sort of platform that isn’t While the museum is so well known for being an incubator for artists in its studio program, she said it’s also an incubator for young curators, a sort of curatorial training ground.Īnd it’s the best kind of training ground: it’s very nurturing but also very critical. LL: When I spoke to Naima last year, she said something similar. Photo by Adam Reich, courtesy Studio Museum in Harlem. While working at the Studio Museum, Ringle organized projects including Maren Hassinger: Monuments, a presentation of eight site-specific sculptures in Harlem’s Marcus Garvey Park. and Thomas and all of my colleagues there. Grateful I am to have learned from Thelma and Naima and Lauren Kind of curatorial training is so powerful and important. I got a whole education at the Studio Museum. Told me there was a job opening and that I should apply. One time I was visiting my husbandĪnd I ran into one of the curators on the street, who
The internship, I went back to grad school. I was so lucky that they hired me-I have no idea how that happened. Read so many important texts that came out of the museum. Once the summer cameĪround, I thought I would try to get an internship at the Studio Museum, having York, and we would go back and forth visiting each other. While I was going to UT, my now husband was living in New Then I went to grad school at UT Austin, where I worked with Moyosore OkedjiĪnd Eddie Chambers. Took a contemporary African art class in undergrad, and I fell in love with it.
Might want to be an anthropologist, but what I really loved was art history. My parents also taught us that it’s much more important to listen than to speak, and that’s something I bring to my work as a curator. That process taught really taught me about the importance of visual culture and what you can learn from an object and its maker. We would save our old toothbrushes and help him clean shards of pottery or pieces of obsidian or other small objects that were coming out of the dig. Want to go to any more museums- they’re soįor a while we lived in Mexico, and my sister and I would help our dad on his digs. I can remember crying when I was little because I didn’t Public health, and my dad is a mine archeologist. My mom had studied art as an undergrad and then moved into Hallie Ringle: I grew up in Davidson, North Carolina, and both of my parents workedĪt Davidson College.
#Redline insert artist full
I’mĬurious about what attracted you to curatorial work, what drew you to New York,Īnd how that eventually came full circle with you returning to the South. Logan Lockner: If I’m not mistaken, you’re originally from North Carolina. Our conversation was conducted over the phone in November 2019 and has been edited for publication. (When Pusey died in April 2019, Ringle contributed an obituary for the artist to Burnaway.) Late last year, I spoke with Ringle about her relocation to the South, her first year in Birmingham, and what spending years researching a nearly forgotten artist has taught her about being a curator. In addition to organizing projects including Birmingham artist Celestia Morgan’s exhibition REDLINE, which remains on view through February 16, Ringle has been preparing for a forthcoming retrospective of works by the late artist Mavis Pusey that will be presented at both the Birmingham Museum of Art and the Studio Museum in Harlem. In our conversation, Ringle spoke about how this ambitious presentation “laid the groundwork” for many of the projects she hopes to pursue at the museum. When Ringle assumed her new position in Birmingham in November 2018, there were a few months left in the run of Third Space: Shifting Conversations About Contemporary Art, the museum’s first-ever large-scale exhibition of contemporary art from its own collection, which was organized by Al-Khudhairi and strove to draw connections between the American South and the Global South. At the Studio Museum, Ringle curated the group show Fictions in 2017, as well as off-site projects with artists such as Derrick Adams, Firelei Báez, and Maren Hassinger. Photo by Texas Isaiah.Īfter spending five years working at the Studio Museum in Harlem, curator Hallie Ringle succeeded Wassan Al-Khudhairi as curator of contemporary art at the Birmingham Museum of Art in Birmingham, Alabama, in late 2018. Hallie Ringle, Hugh Kaul Curator of Contemporary Art at the Birmingham Museum of Art.
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