Dulcina Abreu is a Dominican-born independent curator, artist, and museum advocate currently based in Washington, DC. She graduated with a BFA in Fine Arts and Media from Parsons, The New School. Prior to living in New York, Dulcina studied at The National School of Visual Arts and Altos de Chavon School of Design, both in the Dominican Republic. Abreu’s work explores 21st century visual and material culture from the Caribbean Diaspora in the US, contemporary urban history from the African Diaspora in Europe, immigration law, and activism. She has served as a Latinx Curatorial Assistant at the Smithsonian, supporting initiatives such as the National Postal Museum’s exhibition Baseball: America’s Home Run, National Museum of American History’s Latinos and Baseball: In the Barrios, and the Major Leagues collecting initiative. Abreu currently manages the NYC Latino 9-11 collecting initiative which aims to expand the national narrative of the attacks with Latino/a stories and material culture.
Preferred Pronouns: She/Her
Zion Douglass is an anti-disciplinary thinker, curator, and writer from Baltimore, MD. Grounded by the practice of Black study, Zion’s particular interests dovetail across digital technology and embodiment, the sensory qualities of Black life, temporality, world-making, invisibility, intimacy, mysticism, and experimental moving-image practices. He has assisted and developed programs at the Baltimore Museum of Art, Transformer (DC), The Contemporary (Baltimore), and the Whitney Museum of American Art. Prior to joining MICA’s Curatorial Practice MFA program, Zion worked as a Programming Associate at The Parkway Theatre in Baltimore.
Preferred Pronouns: He/Him
Deyane Moses is an artist, activist, and curator. In 2019, she graduated from MICA with a BFA in Photography. During her senior year, she received national recognition for her project, The Maryland Institute Black Archives (MIBA), which uncovered MICA’s Black history from the 1800s–present. MIBA and its accompanying programs – the exhibition Blackives and the remembrance demonstration Take Back the Steps – prompted MICA’s President to issue a public statement apologizing for the College’s racist past. She is the recipient of numerous awards, such as the Fred Lazarus Leadership for Social Change Award, the Harry T. Pratt Society Award, and the Leslie King-Hammond Graduate Award, to name a few. Deyane’s work has been featured in Art in America, ARTnews, Art & Education, BmoreArt, and The Baltimore Sun.
Preferred Pronouns: She/Her
Ryan Patrick is a Baltimore-born, Brooklyn-based curator. Drawing from six years of experiential research in performance, theatre-making, drag and queer nightlife, Ryan’s curatorial practice uses collaborative and experimental modes to reimagine new possibilities surrounding the public programming and exhibitions binary. Ryan’s current research interests revolve around queer inhumanisms and spirituality, antique-oriented ontology, the performativity of transactions and legitimizing failure. Ryan was the 2018 curatorial intern at Fusebox (Austin) and from 2018-2019 worked in finance at David Zwirner Gallery (NYC). Ryan holds a BFA from the University of Minnesota/Guthrie Theater.
Preferred Pronoun: Ryan
Babette DeLafayette Pendleton creates activated environments, immersive installations, and performances through her multidisciplinary work as an artist, curator, and creative entrepreneur. With a background in performance and choreography, she began her training at Baltimore School for the Arts, Nutmeg Conservatory, Alonzo King Lines Ballet, and later received her BFA from Cornish College of the Arts in Seattle. Previous work includes, Director and Founder of the Pendleton House—a twenty-five person interdisciplinary art collective; Director of the experimental gallery space, New Tomorrow; and Producer and Project Manager for Sarah Cameron Sunde’s series, A Durational Performance with the Sea. Currently, Babette is the Artistic Director of Yellow Fish Durational Performance Art Festival and a creative consultant and Project Manager for Studio153 in Redhook, Brooklyn.
Preferred Pronouns: She/Her
Sicong Sui is a painter, illustrator, and curator of illustration-based art from Beijing, China. He received a BFA in Illustration from the ArtCenter College of Design in California, where he also organized several exhibitions, both as a student and as an alum, across campus galleries and in Los Angeles’ Chung King Road arts district. These shows were co-curated with the short-lived collective, MSG, and featured emerging national and international painters and illustrators. As a Curatorial Practice graduate student at MICA, Sicong is interested in uncovering emotion in the digital age via image-making and multidisciplinary exhibitions. His current research centers around the history, power, and beauty of the anthropomorphic-transformation community.
Preferred Pronouns: He/Him
David Alpert (He/Him) is a curator and artist living and working in Kansas City. He focuses on interactions, connections, and exploring feelings. He believes in listening compassionately to yourself and others. Under the moniker Reality Club, he has curated several arts experiences including a series of rare book tours, a variety show, an interactive observatory, an aeronautic visual art program, a potluck style arts publication, and a crystal growing party. He is currently a core member of Stray Cat Film Center, and he sits on the governing board of the Arts Council of Johnson County, KS. Prior to curating, he worked in property management and commercial real estate development for several years. He received a BA in Economics from Occidental College in Los Angeles.
Website: alpert.online, realityclub.art
Julea Seliavski (She/They) holds a BFA in Sculpture from VCU. Julea is a performance artist and social practice curator. Her work centers systems of care that focus on audience collaboration. She is a co-founder of RVA26, a grassroots organization in Richmond. As a curator, Julea seeks to de-institutionalize the role, opening up space for collaboration when bringing awareness and posing solutions to social issues. Her current research and thesis work lays the foundation for a future Center for Social Practice—a space of collaboration between Art and Law seeking to support and defend cultural workers, activists, and marginalized individuals.
Yéjidé Washington (She/Her) is a Baltimore native, emerging curator, artist, and travel enthusiast. She earned her BA in History from University of Maryland Global Campus. In addition to completing a historical research internship at the National Great Blacks in Wax Museum, Yéjidé has served as a curator-in-training for several recent exhibitions and curatorial projects, including: INTO LIGHT, an exhibition honoring those who have died from addiction; a solo show by Theresa Clower; and C-Magnetic Cultures: Four Chinese Artists, a new media exhibition at Cardinal curated by Minwen Wang '20. Currently, Yéjidé is the Contemporary Art Curatorial Intern at the Baltimore Museum of Art, preparing for Joyce J. Scott's upcoming retrospective in 2024. Yejide's research and professional goals are to develop new tools for treating mental health through engagement with fiber arts.
Nia Aloia Ricks (She/They) is a painter, educator, and curator from Winston-Salem, NC. In 2016, she received her BFA in Painting from Winthrop University. She discovered curating during her undergraduate studies and was immediately drawn to the curator’s ability to inspire creativity, spark conversations, and ultimately bring people together. In 2015, Nia curated Self Portraits: A Collaboration at Winthrop University Galleries, an exhibition and prompt for artists to explore the endless possibilities of self-portraiture. Nia worked as an elementary art educator from 2017–2020 and continued to strengthen her skills in facilitating, leading, and engaging others through art. In the Curatorial Practice graduate program at MICA, Nia wants to find ways to meaningfully connect her passions in teaching, uplifting marginalized people, and supporting local and global communities. Her current research is centered on the history and role of Black hair in identity, politics, and popular culture.
Meg Klink (She/Her) is an artist, curator, activist, and newly, a slasher, working out of Baltimore, MD. Her personal practice challenges the complications and Westernized norms of the human body, gender, mental health, and aesthetics. Currently, her thesis work aims to deconstruct Western heteronormativity and re-establish human instinctive patterns of gender fluidity through the arts. Meg’s background in physics and art history combines her knowledge and passion from both of these fields to advance new forms of cultural production. During her time at Washington College, Meg assisted the Anthropology Department and Kohl Gallery through administrative work, research, and exhibition support. As a queer curator, she hopes to support the queer community by creating alternative platforms for social activism and expression.