{"id":9,"date":"2013-06-14T23:36:40","date_gmt":"2013-06-14T23:36:40","guid":{"rendered":"http:\/\/curativeprojects.zippysites.com\/?page_id=9"},"modified":"2026-01-29T05:01:44","modified_gmt":"2026-01-29T05:01:44","slug":"anuradha-vikram","status":"publish","type":"page","link":"https:\/\/curativeprojects.net\/?page_id=9","title":{"rendered":"About"},"content":{"rendered":"
\"\"

Anuradha Vikram photographed by Pau S. Pescador<\/a><\/p><\/div>\n

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. Currently I am an Associate Curator for The Performance Art Museum working on the High Performance: A 2-Year Conference (2026-2027)<\/a> initiative.<\/p>\n

In 2025, I was guest curator for the\u00a0Metabolic Studio<\/a>\u00a0and for the\u00a0ONE Institute Circa exhibition<\/a>\u00a0The Sky Is Always Falling: HIV\/AIDS Activists Unleashing Power in Los Angeles Then and Now<\/em>. In 2024, I was co-curator of the Getty PST Art <\/a>exhibition\u00a0Atmosphere of Sound: Sonic Art in Times of Climate Disruption<\/em><\/a>\u00a0with\u00a0Victoria Vesna<\/a>\u00a0at\u00a0UCLA Art Sci Center,<\/a> and performance curator for the Oregon Contemporary Artists’ Biennial.<\/a><\/p>\n

My 2017 book, Decolonizing Culture<\/em>, is a collection of seventeen essays addressing questions of race and gender parity in contemporary art spaces. Originally published as columns between 2013 and 2017 through Daily Serving\u2019s #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<\/a>.\u00a0My first novel Use Me at Your Own Risk: Visions from the Darkest Timeline<\/em> is a novel set in 2046, a near future where both automation and climate collapse are more advanced, released by X Artists Books<\/a> in 2023.<\/p>\n

I have curated over 80 exhibitions with regional and international artists over the past decade, notably <\/span>Sonya Rapoport: Spaces of Life<\/em> (Mills College Art Museum, Oakland, 2012), <\/span>Social Fabric<\/em> (<\/span>Craft and Folk Art Museum<\/a>, Los Angeles, 2013), <\/span>Uncommon Terrain<\/em> (<\/span>Shulamit Nazarian Gallery<\/a>, Venice, 2015), and\u00a0 Jaishri Abichandani: Flower-Headed Children<\/em> (Craft Contemporary<\/a>, January-May 2022). Live events include eX-aMEN-ing Masculinities with LA Freewaves<\/a> and Illuminate LA<\/a> for Los Angeles County Department of Arts and Culture in 2022.<\/span><\/p>\n

I am Faculty in the UCLA Department of Art<\/a>\u00a0and from 2016-2020 I was a member of the Board of Directors of the College Art Association<\/a>. I have also taught at UC Riverside, CalArts, USC, CSU Long Beach, Otis College of Art and Design, UC Berkeley, and College of Marin.<\/p>\n

As Artistic Director\u00a0at 18th Street Arts Center<\/a> 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…<\/em> co-produced by 18th Street with REDCAT and the Getty for Pacific Standard Time Festival: Live Art LA\/LA in 2018; and organizing\u00a0A Universal History of Infamy: Virtues of Disparity, <\/em>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<\/a>, UC Berkeley Department of Art Practice (2009-13), Headlands Center for the Arts<\/a> (2007-08), and Richmond Art Center<\/a> (2005-06).<\/p>\n

Other publications include a contribution to As radical, as mother, as salad, as shelter: What should art institutions do<\/em> now?<\/em><\/a>\u00a0(New York: Paper Monument, 2018); “Underneath the Black Atlantic: Race and Capital in John Akomfrah’s\u00a0Vertigo Sea<\/em>” (X-TRA, vol. 21, no 3, Spring 2019);\u00a0“Phenomenology of a Cyborg: Biological and Technical Systems in the Art of Juan Downey” (X-TRA<\/em>, vol. 20 no. 3, Spring 2018), \u201cBecoming Human: Nam June Paik\u2019s Futuristic Compassion\u201d (X-TRA<\/em>, vol. 18 no. 1, Fall 2015), \u201cA Brief and Incomplete History of Art and Technology Ventures in the Bay Area 1980-2010\u201d (Afterimage<\/em>, vol. 41, no. 6, Summer 2014), and \u201cSonya Rapoport: A Woman\u2019s Place is in the Studio\u201d (Sonya Rapoport: Pairings of Polarities<\/em>. Terri Cohn, Ed. Berkeley: Heyday, 2012). I am a regular contributor to\u00a0X-TRA<\/a><\/em>, and have written for Artforum, ARTnews<\/a>,\u00a0KCET Artbound<\/a>,<\/em>\u00a0DAILY SERVING<\/a><\/i>, Hyperallergic<\/a><\/em>, Leonardo<\/a><\/em>, SF Camerawork Journal<\/a><\/i>, Afterimage<\/em><\/a>, Artillery<\/a><\/em>, The Brooklyn Rail<\/a><\/em>, and Open Space<\/em><\/a>, the blog of the San Francisco Museum of Modern Art<\/a>.<\/p>\n

I live in Los Angeles, CA, with my\u00a0partner<\/a>, two children<\/a>, and two cats.<\/p>\n

\"Creative<\/a>
\nCurative Projects<\/b> and all work on this site by Anuradha Vikram<\/a> is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License<\/a>.<\/p>\n

Site design by Katherine Evans<\/a><\/em><\/p>\n

Photo by Brica Wilcox<\/a><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

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. Currently I am an Associate Curator for The Performance Art Museum working on the […]<\/p>\n","protected":false},"author":5,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-9","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P3CsSN-9","_links":{"self":[{"href":"https:\/\/curativeprojects.net\/index.php?rest_route=\/wp\/v2\/pages\/9","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/curativeprojects.net\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/curativeprojects.net\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/curativeprojects.net\/index.php?rest_route=\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/curativeprojects.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=9"}],"version-history":[{"count":39,"href":"https:\/\/curativeprojects.net\/index.php?rest_route=\/wp\/v2\/pages\/9\/revisions"}],"predecessor-version":[{"id":6970,"href":"https:\/\/curativeprojects.net\/index.php?rest_route=\/wp\/v2\/pages\/9\/revisions\/6970"}],"wp:attachment":[{"href":"https:\/\/curativeprojects.net\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=9"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}