Selvage Collective

Research | Public History | Art

Selvage is a curatorial collective that reveals and visualizes alternative narratives and history. With a strong commitment to service, we work with our partners to identify a particular need and research focus that allows for discovery on both sides of the partnership. In examining the past we rewrite future understanding of a time and place, and embrace nostalgia as a form of knowledge rather than sentimental longing. We work in the borderland of fact, hearsay, and fiction, wherein one finds multiple voices and stories to share.
Seoidín O’Sullivan, Hard/Graft: towards community orchards, 2017

A Most Favourable Soil

Nov 9, 2019 — March 1, 2020
Butler Gallery, Kilkenny, Ireland

A curatorial project by the Selvage Collective featuring work by Varujan Boghosian, Charlotte Wheeler Cuffe, Micky Donnelly, Peter Hutchinson, Nevill Johnson, Stefan Kurten, Katie Ridley Murphy, Seoidín O’Sullivan, Joe Peragine, Jack Pierson, and Daphne Wright.

The Mystery of Stark Alley

The Mystery of Stark Alley

The Carson McCullers Center for Writers and Musicians, Columbus, Georgia

Image courtesy of John L. Wathen, Friends of Hurricane Creek

Flow Tuscaloosa

Tuscaloosa, Alabama

A project that blends public art, public history, and environmental science and takes inspiration from the regeneration of Hurricane Creek in Tuscaloosa. In conjunction with artist Jamey Grimes, the University of Alabama Collaborative Arts Research Initiative, and the Friends of Hurricane Creek..

ATLas project screen capture

ATLas (Atlanta Art Scene)

August 22 – December 6, 2015
Bernard A. Zuckerman Museum of Art, Kennesaw, Georgia

ATLmaps site ATLas explores 1970s Atlanta through the memories of eight women artists and/or art administrators. The site is a companion to the physical exhibition Forget Me Not, organized by the Zuckerman Museum of Art at Kennesaw State University. Forget Me Not features the work of ten women that explores ideas of loss, repetition, ritual and memory. Part of our inquiry extended to the loss of memory (perceived by us) surrounding the history of arts in Atlanta, and, in connection with the physical exhibition, the desire to recover the 1970s scene through the voices of its women creators, though men certainly played a part.

A Most Favorable Soil installation, image Kirstie Tepper