About ゜ .゜・* 。
Meghana Karnik (she/they) works across modalities as a curator, arts administrator, and writer; exploring paradoxes between art and social change, belief and technology, lived experience and institutional process. Recent curatorial projects include Tamar Ettun: How To Trap A Demon (2022), which presented the artist’s research into somatic empathy, talismans, and astrology as storytelling; and TITLE TBD (2020), a group exhibition which viewed failure as a seed to reimagine artistic communities, emphasizing peer support and the solidarity economy.
For Meghana, curating is shaped by relationships — to people, infrastructures, and resources. Currently, she’s studying collective cultural work in de Appel Curatorial Programme 2023 (Amsterdam, NL) and as a co-participant in The Luminary’s Process-As-Practice Residency (St. Louis, MO). In New York, she serves as a Curatorial Adviser for The Immigrant Artist Biennial 2023 (TIAB) and on the Advisory Board of Critical Practices, Inc.
From 2021-2022, Karnik was Manager, Grants & Artist Initiatives at Art Matters Foundation (New York, NY), where she supported Artist2Artist, a new regranting program that shifts philanthropic power back to artists and culture workers. From 2019-2020, she was Associate Curator for FRONT International 2022 (Cleveland, OH), where she researched artists and partnerships in the Great Lakes region. From 2015-2019, she was Program Manager and later, Associate Director of EFA Project Space (New York, NY), a cross-disciplinary curatorial incubator, where she produced guest-curated exhibitions, artist projects, and facilitated SHIFT: A Residency for Arts Workers.
Karnik has an M.A. in Arts Administration from Teachers College, Columbia University, a B.A. in Political Science and Art History from Case Western Reserve University, and completed a non-degree BFA Exhibition & Thesis in Drawing as a cross-registered student of The Cleveland Institute of Art.