Kate M. McNamara

Kate M. McNamara is the juror of Beyond the Veil, a national group exhibition with a submission deadline of March 2.

Can you tell us a little about yourself?

How did you become interested in art?

I was very lucky to grow up in a home where the arts were deeply valued. My parents had a genuine love for the arts, and I was surrounded by extended and chosen family members who were artists, dancers, and art educators. When I went to undergrad, my initial focus was on painting, however, about halfway through, I discovered a deep interest in theory and art history. The intellectual underpinnings of art and the ways it intersects with culture and society drew me in. Around this time, I also immersed myself in the vibrant alternative art communities in New York. These communities were incredibly rich and dynamic, offering a space for experimentation, collaboration, and dialogue that broadened my perspective. It was through this confluence of academic study and real-world engagement with art communities that I found my path shifting towards curatorial studies. I realized that curating offered a way to bridge my interests in creating, thinking, and contextualizing art, while also collaborating with others to bring new ideas and experiences to life.

You are a curator, educator, and author. How do you balance these different lines of work? How do they influence each other?

These roles are deeply interconnected and constantly inform one another. As a curator, educator, and author, I see each as part of a larger ecosystem of thinking, making, and sharing ideas. Teaching, for instance, allows me to engage directly with aspiring artists and curators. Their questions, perspectives, and creative approaches challenge me to think critically and stay open to new ways of seeing and engaging with art. This dialogue often sparks fresh ideas and insights that I carry into my curatorial projects.

Curating, on the other hand, keeps me grounded in the practical and conceptual aspects of working with artists, spaces, and audiences. It’s a process that involves research, storytelling, and collaboration—skills that also feed into my writing. Writing, in turn, sharpens my ideas and provides clarity that enhances both my teaching and curatorial work.

For me, these roles are not separate but deeply symbiotic. Each feeds the other, creating a dynamic cycle of learning, creating, and sharing that keeps my work evolving.

Can you tell us about ODD-KIN, the contemporary art project space in Providence that you founded?

ODD-KIN is a contemporary project space I founded in East Providence, rooted in the idea of fostering unconventional relationships—whether between people, disciplines, or ways of thinking. The name itself reflects the ethos: exploring the idea of ‘odd kinship’ as a metaphor for chosen family, interspecies relationships, unexpected collaborations, and survival strategies.

The space was born out of a desire to create something beyond traditional gallery models, where artists, researchers, and audiences could come together to explore complex ideas in a supportive and open environment. Through exhibitions, talks, and collaborative projects, ODD-KIN aims to support artists and cultural producers who push boundaries and propose new ways of seeing and living. For example, we’ve worked with artists that critique systems of power, navigate the complexities of identity, and propose new ways of seeing and living in the world. I see ODD-KIN as both a site for storytelling and a space for imagining alternative futures—whether that’s through interdisciplinary collaborations, experimental exhibitions, or fostering community connections.

Before living and working in Providence, you worked in New York, both at Cleopatra’s, a gallery you co-founded, and PS1. What were those experiences like?

New York was an incredibly formative chapter in my career. My first curatorial role at PS1 came right after graduate school, during a time when the institution still had a raw, experimental energy. It was an amazing learning environment where I had the privilege of working alongside visionary international curators and artists, many of whom became lifelong mentors and collaborators. The projects I worked on during that time helped me understand the power of collaboration and the nuances of bringing ambitious ideas to life in a museum context.

While working at PS1, conversations with a group of friends kept circling back to the idea of creating something outside the structure of our museum and gallery jobs—a space that allowed for more experimentation and flexibility. The financial crash of 2008, while devastating, opened up opportunities for creative communities to access affordable spaces and build their own platforms. Out of this context, Cleopatra’s was born. We transformed a former artist’s storefront studio in Brooklyn into a curatorial hub. Cleopatra’s hosted exhibitions, film screenings, artist talks, and performances, providing a platform for emerging artists and fostering a spirit of experimentation that wasn’t tied to commercial expectations.

These experiences shaped my approach to curating and solidified my commitment to reimagining “the alternative.” After New York, I carried these lessons into roles in university and college galleries, first at Boston University Art Galleries and later at Otis College of Art and Design in Los Angeles. Each step has been about finding ways to support artists, engage diverse audiences, and create spaces where new ideas can flourish.

Do you have any advice for anyone interested in becoming a curator?

Absolutely—getting a degree in curatorial studies, art history, or a related field can provide a strong foundation, but I truly believe that finding ways to practically participate in the art world is just as important, if not more so. When I was starting out, immersing myself in alternative art spaces, collaborating with peers, and creating projects outside the confines of traditional institutions taught me so much about curating. So, my advice is to look for opportunities to engage with artists and art spaces or even starting a small project of your own. Being curious, collaborative, and open to learning through doing is key. The practical experience you gain will help you build your voice and vision as a curator, and it often leads to opportunities and connections that formal education alone can’t provide.

What does the art world need more of right now?

The art world needs more equity, accessibility, and genuine community building. Too often, the structures of the art world—its institutions, markets, and hierarchies—reinforce barriers that exclude many voices. We need to create more pathways for underrepresented artists, curators, and audiences to participate meaningfully in art and culture.

I also think the art world needs more spaces that prioritize experimentation and care over commercial success. These kinds of spaces allow artists and curators to take risks, fail, and grow, which is where some of the most transformative work happens.

Collaboration across disciplines is another area of need. As we face urgent global issues like climate change, systemic inequity, and political unrest, the art world has a unique role to play in fostering dialogue and imagining solutions. Partnerships with scientists, activists, and other sectors can expand what art can do and whom it can reach. This is something I am thinking alot about at ODD-KIN.