Staci Bu Shea is Curatorial Fellow at Casco—Office for Art, Design & Theory (in transition to Casco Art Institute: Working for the Commons) in Utrecht, Netherlands. Staci works within the realms of exhibition making, research, writing, programs, discussion, and design. They are most interested in reproduction, collaborative practices, materiality, and embodiment, and in general, artistic practice and theoretical work that speaks to/for the slippages, leaks, and breaks made in our social relations. Staci graduated from Center for Curatorial Studies, Bard College, New York, and has organized exhibitions and programs in the US and Europe. With Carmel Curtis, Staci is co-curator of Barbara Hammer: Evidentiary Bodies at Leslie Lohman Museum (Oct 2017-Jan 2018, NYC) and co-editor of the extensive exhibition catalogue.
Staci Bu Shea (born 1988, Miami, USA) is the Artist-in-Residence at Crisp Ellert Art Museum in St. Augustine, Florida from January-April 2017 and Curatorial Fellow at Casco Art Institute: Working for the Commons in Utrecht, Netherlands from September 2016-December 2017.
Staci organized a film program at Crisp Ellert titled The shape of my kin networks looks more like a trellis or an esplanade than a tree. The program is titled after a line from Donna Haraway's “The Companion Species Manifesto,” a book that Staci continuously reread throughout the residency, to emphasize the weaving of relationships, practices and objects as an organizing form and methodology. The program featured documentary films that give extraordinary visual language to the mundane details of group organizing: rehearsing for a play in an anti-psychiatry clinic, assembling a union in 1970s London, and (re)reading in a reading group. Each screening was accompanied by (and/or dependent on) special invited guests: “Every Little Thing” by Nicolas Philibert with Carolyn Lazard (February 22), “Nightcleaners” by Berwick Street Collective with Rachael Rakes (March 8), and “The Joycean Society” by Dora Garcia with Dr. Craig Woelfel (April 5). Staci will tell you more about this later, through an exhibition at Crisp Ellert Art Museum in 2019.
Right now, Staci is organizing a weeklong workshop and exhibition with the Army of Love, which will take place in October and November at Casco in 2017. Staci is leading a Revolutionary Feminism reading group in Jacksonville, Florida. In September, a large, comprehensive exhibition of Barbara Hammer's work will open at Leslie Lohman Museum for Gay & Lesbian Art in New York City. Staci and Carmel Curtis have been working on this with Barbara for a few years now.
Staci holds an MA from the Center for Curatorial Studies, Bard College.
Staci Bu Shea (b. 1988, Miami, USA) is a curator, writer and designer currently living in Utrecht, Netherlands and working as a Curatorial Fellow at Casco—Office for Art, Design & Theory. Staci is a graduate of the Center for Curatorial Studies, Bard College in New York, where they curated Emphasis Repeats*, an exhibition on affinity as feminist methodology and work produced from different modes of queer kinship, at Hessel Museum of Art in May 2016.
Most recently, Staci curated Age Lines at Casco, an exhibition-project that presents work by Kerry Downey, Alexis Pauline Gumbs, Ilyana Ritchie, and Mia You, and includes related programming; gave a talk with Constantina Zavitsanos at TimeLab in Ghent, Belgium; taught a class with Laura Herman on orientations and relationships within domestic space at Design Academy Eindhoven in the Netherlands; wrote a catalogue essay titled "Chew/Spit" for the exhibition Gut Feelings at Zuckerman Museum of Art (curated by Sarah Higgins in Kennesaw, Georgia); had their voice recorded for a project that curator Sarah Demeuse is working on; and was a participant in the study group humanlearning.site at P! (NYC). Staci worked on Invisible Adversaries co-curated by Tom Eccles and Lauren Cornell at Hessel Museum of Art and Tony Oursler: The Imponderable Archive co-curated by Tom Eccles and Beatrix Ruf at CCS Bard Galleries (summer of 2016).
With Carmel Curtis, they continue to work on a large, comprehensive exhibition of Barbara Hammer’s work that will take place at Leslie Lohman Museum for Gay & Lesbian Art (NYC) in September 2017. Staci's research interests include relationality, social reproduction, speech act theory, feminist new materialisms and psychoanalysis.
Staci Bu Shea is a curator, designer, and writer living in New York City for the summer of 2016. They hold an MA in Curatorial Studies from the Center of Curatorial Studies (2016), Bard College and a BA in Art History from the University of North Florida (2011). They studied Japanese and Chinese Art History at Sophia University in Tokyo, Japan (2009-2010).
Before working on their MA, Bu Shea (one word last name with a space in it) has independently curated several solo and group exhibitions and publications within the Northeast Florida area. Over the past two years, they have organized many projects within the context of their education, including their thesis exhibition Emphasis Repeats*, which focused on affinity as feminist methodology and work produced from different modes of queer kinship, featuring works by Barbara Hammer, Andrea Geyer, Reina Gossett, and Alex Martinis Roe at Hessel Museum of Art; overseeing the exhibition and publication design for Receipt of a Magical Agent with design studio Estudio Herrera (Mexico); designing the publication that accompanied Rachael Rakes' exhibition The future will never arrive at Hessel Museum of Art, a 78 page book edited by Rakes including texts by Anna Moschovakis, Joachim Koester, Gyula Kosice, Luis López Carrasco, Martine Syms, and a selection of songs about past futures; co-commissioning texts by Denise Ferreira da Silva and Rizvana Bradley for aCCeSsions Issue 2: The Overview Effect; and co-organizing and facilitating a workshop at P! (NYC) with interlocutors Carolyn Lazard (We are Canaries) and Stephanie Wakefield (Woodbine) to discuss resources and strategies for building awareness of and responses to the fear or joy of missing out, paying special attention to organizational practices, presence, lifestyle, and the material underpinnings of space and access. They also narrated the audio guide for Humberto Moro's exhibition Overburden at Hessel Museum of Art, which was a very new experience for them. Bu Shea's current research interests include social reproduction, disability studies, speech act theory, feminist new materialisms, psychoanalysis, and emotional labor.
Bu Shea is currently working on a retrospective of Barbara Hammer's work with co-curator Carmel Curtis (2017) and is looking forward to their return to Casco — Office for Art, Design & Theory (NL) for a three month curatorial fellowship starting in September 2016. They are a participant in the study group humanlearning.site organized by Roxana Fabius and Federico Pérez Villoro. Other activities include exhibition-seeing, making vegetarian southern meals as a way of fostering a haptic connection to their southern roots, and getting involved in Domestic Workers Alliance (NYC).
Staci Bu Shea is a curator and writer from Jacksonville, Florida, and is currently working on their MA at Center for Curatorial Studies, Bard College, New York. Before this, Bu Shea received their BA from University of North Florida, Jacksonville, Florida, studied at Sophia University in Tokyo, Japan, and independently curated several solo and group exhibitions and publications within the Northeast Florida area, at locations such as Crisp Ellert Art Museum, The Cummer Museum of Art & Gardens, CoRK Arts District, and Florida Mining Gallery.
Their thesis exhibition Emphasis Repeats*, featuring works by Barbara Hammer, Andrea Geyer, Reina Gossett, and Alex Martinis Roe, is on display from April 3-24, 2016 at Hessel Museum of Art, Annandale-on-Hudson, NY.
Their recent activities include research for the upcoming exhibition We Are the Time Machines and collaborative work at Casco — Office for Art, Design & Theory, Utrecht, NL, writing a text for ICP symposium What's Love Got to Do With It?, and co-organizing with Alexis Wilkinson a program of performance-lectures by Katherine Hubbard and Jen Rosenblit at Judd Foundation, NYC titled Matter to Whom?. Formative experiences include working as a curatorial assistant to artist Jim Draper, a graphic designer, an organizer for Girls Rock Camp Jacksonville, and a housecleaner.