This essay considers Maud Sulter (1960-2008) as a curator. Best known as an artist and writer, Sulter curated nearly 20 exhibitions, working in collaboration with the path-breaking artist and curator Lubaina Himid and independently. The essay explores the transnational perspectives of her curating, through discussion of Columbus Drowning, 1992, one of several shows she curated while working at Rochdale Art Gallery, and Photogenetic: Reviewing the Lens of History, 1995, curated for Street Level Photoworks in Glasgow, innovative in its focus on archival art. The essay argues that Sulter's exhibition organising and public programming were informed and inspired by the discursive curating of the Black Art movement of the 1980s, initiated to reac...
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