We delve deeper into Eva’s work as an independent curator: Inspirations, Upcoming Projects, and the tale of an Inspiring Wikipedia Edit-A-Thon
Courtney Colman: I first met you a few years back at Art Ladies' Drinks, and at the time you were working as the Studio Program Manager for Smack Mellon. Fast forward to today, and you recently curated and mounted an exhibition, "I Come To This Place", at Smack Mellon. I'm so curious to hear, over the course of our short back and forth, about this evolution. So, to begin, can you tell me a bit about your work as a curator? Do you have an area of focus or particular artists you strive to support?
Eva Mayhabal Davis: Thank you Courtney! The exhibition at Smack Mellon was a culmination of an idea I've had for a few years. It started with a list of artists and works that I saw responding and complementing each other. Eventually, narrowing down to the selected works and programs. I see as much work as possible from open studios, exhibits, Instagram, and panels. I think my curatorial practice is a combination of relationships, conversations, and gatherings. In a similar vain in which we met at Art Ladies' Drinks, I aim to connect ideas and makers. It's been in my experience that artists sense the calamities of the world in a particular way and are able to wrangle them into materials, performance, sound, space, all art! These manifestations can be objects or happenings, I come along to give context, to put the spotlights up and usher the public to partake. There is a lot of care that goes into it because often times narratives are raw and ravel in politics and see the never ending human condition. I have come to focus on working with artists whose work derives from their identity, their unique perspective on historical narratives and lived experiences. In the exhibit at Smack Mellon, the twelve featured artists work with abstraction that weaves Indigenous knowledge, celebration, and homage. There are complexities that appear and disappear through generations of thinkers who have a mix, stolen or lost heritage and naturally art is weaponized to tell stories of migration and ongoing colonization. Like any other society before our time, our art and culture record our humanity or there lack of.
CC: Let’s talk a bit about your background. Here’s one of my favorite questions: What was your favorite class in college? Did it spark a topic of investigation for you?
ED:There was a class elective that I took called “The Psychobiology of Women”. It was a combination of psychology and biology with the focus on women. It was enlightening and life changing. There were practical aspects about how our bodies work and change, along with the psychology aspect which was a cultural lens. Comparing Freudian studies, reading biased research, and the feminist movements were all part of the class. The context for scientific research and lack thereof speaks volumes about culture. At about the same time there was a Wikipedia edit-a-thon just for adding artists, I rallied up a few friends in art history to only add women artists. I remember that Mary Cassatt’s only had a paragraph! To say the least this class added fuel to the fire. I don’t remember how many we added but it was a powerful start.
CC: Switching topics here—what was your favorite moment while working as a gallery guide at the Guggenheim? (I ask this question because I, myself, did this for the Guggenheim in Venice, and boy oh boy I know I saw some things).
ED: I learned so much about people, I really appreciate that sixth sense that I develop and use to this day. By far my favorite memories are visitors that became friends and the regulars. Yes, regular museum goers that sometimes I would see daily. Mostly retired New Yorkers. One was a philosophy professor of some kind –I never really got a full story but we would talk about the artwork endlessly. He was so interested in the staff’s perspective because of course, we spent 40 hours a week there. He would talk to all the security guards. Art talk turned to politics and life. He would even carry the catalog around and ask what do you think this curator or writer meant? He’d be open to a page already bookmarked.
CC: What is the next place you would like to travel to, to see art?
ED: I love traveling and seeing art everywhere. I really hope to travel to Latin America, Colombia and Brazil are at the top of my list right now, so we’ll see.
CC: What’s up next on the docket for you?
ED: I have three projects that I am super excited about! One opens on February 14, titled Beyond the Pale, I curated the work of Zac Hacmon at the Border Project Space. I have also joined the curatorial collaborative, Transmitter, and by spring I’ll be working between their space and my curatorial residency with Kunstraum, LLC.
