I am a writer, curator, and educator based in Los Angeles. As a curator and critic of contemporary art, I work with process-based, public, and participatory art forms, with a focus on transcultural approaches to technology, social engagement, and the body.
My book, Decolonizing Culture, is in its third printing. The collection of seventeen essays addresses questions of race and gender parity in contemporary art spaces. Originally published between 2013 and 2017 through Daily Serving’s #Hashtags column, the text considers the specifics of equality and representation in the context of current events in the field of arts and culture in the United States and internationally. Available for purchase at Sming Sming Books.
I have organized over 50 exhibitions with California-based and international artists over the past decade, notably Sonya Rapoport: Spaces of Life (Mills College Art Museum, Oakland, 2012), Social Fabric (Craft and Folk Art Museum, Los Angeles, 2013), Uncommon Terrain (Shulamit Nazarian Gallery, Venice, 2015), and the upcoming Jaishri Abichandani: Flower-Headed Children (Craft Contemporary, 2020). I am Faculty in the UCLA Department of Art, a Senior Lecturer in the MFA Program at Otis College of Art and Design, and a member of the Board of Directors of the College Art Association.
As Artistic Director at 18th Street Arts Center in Santa Monica, California from 2014-19, I developed exhibitions and residencies with contemporary American and international artists each year, including curating Carmen Argote: If only it were that easy… co-produced by 18th Street with REDCAT and the Getty for Pacific Standard Time Festival: Live Art LA/LA in 2018; and organizing A Universal History of Infamy: Virtues of Disparity, an exhibition and 15 visiting artist residencies curated by Rita Gonzalez, Jose Luis Blondet, and Pilar Tompkins Rivas of LACMA for Pacific Standard Time LA/LA in 2015-17. In 2018-19, I also curated solo exhibitions with Clarissa Tossin, Neha Choksi, Paul Pescador, and Kenneth Tam as part of 18th Street’s quarterly Artist Lab new work commissioning program. Other curatorial staff positions include Worth Ryder Art Gallery, UC Berkeley Department of Art Practice (2009-13), Headlands Center for the Arts (2007-08), and Richmond Art Center (2005-06).
Recent publications include a contribution to As radical, as mother, as salad, as shelter: What should art institutions do now? (New York: Paper Monument, 2018); “Underneath the Black Atlantic: Race and Capital in John Akomfrah’s Vertigo Sea” (X-TRA, vol. 21, no 3, Spring 2019); “Phenomenology of a Cyborg: Biological and Technical Systems in the Art of Juan Downey” (X-TRA, vol. 20 no. 3, Spring 2018), “Becoming Human: Nam June Paik’s Futuristic Compassion” (X-TRA, vol. 18 no. 1, Fall 2015), “A Brief and Incomplete History of Art and Technology Ventures in the Bay Area 1980-2010” (Afterimage, vol. 41, no. 6, Summer 2014), and “Sonya Rapoport: A Woman’s Place is in the Studio” (Sonya Rapoport: Pairings of Polarities. Terri Cohn, Ed. Berkeley: Heyday, 2012). I am a regular contributor to X-TRA, and have written for ARTnews, KCET Artbound, DAILY SERVING, Hyperallergic, Leonardo, SF Camerawork Journal, Afterimage, Artillery, The Brooklyn Rail, and Open Space, the blog of the San Francisco Museum of Modern Art.
Curative Projects and all work on this site by Anuradha Vikram is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
Site design by Katherine Evans
Photo by Brica Wilcox