Thinking about the Caribbean as more a space than a place, independent curator and doctoral candidate Nicole Smythe-Johnson argues that collecting Caribbean art should not be a matter of geographic focus, but rather of collecting from a Caribbean perspective. Smythe-Johnson sketches a collecting strategy informed by the multivalent intersectionality that is a hallmark of Caribbean culture, with reference to works by Caribbean artists in the Black Studies collection at the University of Texas at Austin.
Nicole Smythe-Johnson is a writer and independent curator from Kingston, Jamaica. She is currently a PhD candidate in the department of Art and Art History at the University of Texas at Austin. Most recently, she worked on the exhibition John Dunkley: Neither Day nor Night at Pérez Art Museum Miami and the American Folk Art Museum in New York, and she is currently on the curatorial team for the Kingston Biennial, which opened in June 2022. She was also editor of Caribbean Quarterly, the University of the West Indies’ flagship journal of culture, and has written for a number of magazines and journals, including Terremoto, Flash Art, and the Small Axe Project’s sx visualities.