This week I sat down virtually with Sean Lee, Director of Programming at Tangled Art + Disability, to talk about radically accessible curation, the transformative possibilities of disability as disruption, and the exciting work of Tangled and Bodies in Translation. So many links!

• To learn more about Tangled Art + Disability, check out recent exhibits like “Body Farm” and “HIDDEN”
  • You can read the Canadian Art review of “HIDDEN” here and watch this video to learn more about Gloria Swain’s work
• Check out the work of Bodies in Translation: Activist Art, Technology & Access, including their Cripping the Arts symposium and their Vital Practices in the Arts resource guide!
• Here are some other references Sean made:
  • Yinka Shonibare on disability as the last avant-garde
  • Eliza Chandler on “Cripping Community” (with bonus references to Kelly Fritsch’s understanding of cripping as “open[ing] up desire for what disability disrupts”)
  • José Esteban Muñoz on “Queerness as Horizon”
  • Amanda Cachia on “the politics of creative access”
  • The Smithsonian’s guidelines for accessible exhibition design
  • An FAQ on relaxed performances from Tourettes Hero aka Jessica Thom
  • Sean Lee talking about resisting the art therapy model
  • Tobin Siebers on disability aesthetics
  • Mia Mingus defining disability justice
  • Ableism as defined by Talila A. Lewis and Dustin Gibson
  • The new and improved Creative Users website
• And a few things I talked about
  • The Festival of Literary Diversity’s Amanda Leduc on virtual events as as an opportunity for accessibility
  • Some reading on the intersections of COVID-19 and anti-Black racism
  • What the fuck is up with J.K. Rowling
• Finally, if you’d like to donate, may I recommend the Black in BC Community Support Fund for COVID-19

The podcast theme song is “Mesh Shirt” by Mom Jeans off their album “Chub Rub.” Listen to the whole album here or learn more about them here. Sean’s theme song was “It’s Gonna Be Okay, Baby” by MUNA.

Secret Feminist Agenda is recorded and produced by Hannah McGregor on the traditional and unceded territories of the Squamish, Musqueam, and Tsleil-Waututh First Nations.