Cultured Mag

Winter 18

The Shapeshifting Alchemist

“In order to really have a clear vision, you have to let go of certain things. You have to have a paradigm shift. Part of this whole methodology is about how do we collectively let go of things that aren’t working so that we can make space for things that might work.”

Gia Hamilton Winter 2018  (1).jpg




We Asked 105 Experts What Scares and Inspires Them Most About the Future

Fear: Black Mirror delves into the unintended consequences of technology; what worries me is life imitating art and art imitating life. Even with our intellectual capacity to envision conflicts and moral and ethical dilemmas, we continue to make short-sighted decisions about power, resources, and energy that are inequitable and unsustainable. When we act with intellect without empathy, innovation without self awareness, power without discernment or wisdom, then we let ourselves be slaves to our egos.

Hope: Our ability to imagine a new future, to conceptualize and explore new truths. Artists are trained to visualize original ideas, create discourse that can lead us with creativity. It is our time to examine our economic, political, and religious systems; do these systems work for all people? If not, how do we use an intersectional praxis to create solutions that are harmonious, thoughtful, and filled with empathy and connection?

—Gia M. Hamilton, founder of Afrofuture Society and author of Modern Matriarch, USA

New Orleans Tribune


An Interview with Gia Hamilton

“My anthropological lens colors everything, for instance I am constantly observing the culture of organizations, corporations and informal groups and it informs our entry point in a more focused way. This way of approaching the programming allows me to be thoughtful because I acknowledge all the moving pieces around me, so there is a much more integrative and interdependent approach to working.”

Alliance of Artist Communities


This is Personal | Gia Hamilton, Joan Mitchell Center (New Orleans, LA)

“I am thinking about the term social practice. It is the newest buzzword to describe the way in which performing artists have created work for a very long time, but more specifically I am thinking about how we as stewards at the residency create a platform and systems for social practice artists to connect in the city of New Orleans and everywhere that the Foundation has a presence.

I am very interested in how we diversify both the audiences and artists that we host at the Center and how we engage with our local community here. It is a lot of responsibility to be a good neighbor, leader, connector, and conductor of resources.”