Francesca “Frankie” Altamura exists.
In Winter 2023 and together, with Sydney Shen, she contributed to Mossflower, a small press focused on the process and labor of making rather than the final product alone. Volume 1, Residue, brought ideas together around cooking, food and food-adjacent topics, artistic practice, and cultural labor. Issues are sold out.
She also wrote about Nicholas Grafia’s painting and performance practice for Peres Projects at 20 Years, a new monograph celebrates the gallery's 20th anniversary with authors, art critics, curators, journalists, and editors from around the world. Publications can be purchased here.
From April 2021–April 2022, she responded to “Control the Virus Vol 03,” a year-long digital exhibition curated by Martin Mayorga and Vanessa Murrell, from DATEAGLE ART, and Zaiba Jabbar from HERVISIONS, with short form essays about the twelve digital works. The exhibition was conceptualized as an episodic series to highlight the practices of twelve artists with newly commissioned digital works by Molly Soda, Pinar Yoldas, Natalia Stuyk, Crosslucid, Kumbirai Makumbe, Taína Cruz, Corie McGowan, Sofia Crespo (Entangled Others), Débora Silva, Danielle Brathwaite-Shirley, Maria Mahfooz, and Sybil Montet. For the program, she also conducted intimate virtual conversations with each of the twelve artists. The recordings are accessible for all audiences on YouTube.
In 2021, she collaborated with artist and educator Gabriel Gordon on “Forever 2020” published in stop.gap 003. The third issue of the journal can be purchased here. The same year, she was in conversation with artist Nicholas Grafia for his solo exhibition, “Soul Burner,” at KOËNIG2 by_robbygrief; and was in conversation with performance artist Dagnini for Living Content.
In 2020, she contributed the exhibition essay, “her flora, her fauna,” for artist Hulda Guzmán’s solo exhibition, “my flora, my fauna,” at Alexander Bergruggen Gallery in New York. The catalogue can be purchased here. She also wrote a short essay about Yun Choi’s work and exhibition, “Walking the Dead End,” at Doosan Gallery, New York.
In 2018, she helped manage the production for the 3D lenticular exhibition catalog of “Strange Days: Memories of the Future,” which featured contributions by writer Hilton Als, anthropologist Arjun Appadurai, philosopher Rosi Braidotti, among many others. For this publication, she was in conversation with curator Massimiliano Gioni and artist Wong Ping. She also contributed to exhibition wall texts, writing about works by artists Hassan Khan, Klara Lidén, Wong Ping, and Ragnar Kjartansson with The National. The catalogue can be purchased here.
Throughout her tenure at the New Museum, she helped edit and produce numerous catalogues for the New Museum for artists including Peter Saul, Hans Haacke, Lubaina Himid, Marta Minujín, Nari Ward, Sarah Lucas, Thomas Bayrle, John Akomfrah, as well as for group exhibitions, including “The Same River Twice: Contemporary Art in Athens,” “Strange Days: Memories of the Future,” and the 2018 New Museum Triennial: “Songs for Sabotage.”
In 2018, she wrote the exhibition text for artist Evgeny Antufiev’s solo presentation, “Dead Nation: Short Version,” at Emalin’s New York pop-up gallery space.
In Winter 2023 and together, with Sydney Shen, she contributed to Mossflower, a small press focused on the process and labor of making rather than the final product alone. Volume 1, Residue, brought ideas together around cooking, food and food-adjacent topics, artistic practice, and cultural labor. Issues are sold out.
She also wrote about Nicholas Grafia’s painting and performance practice for Peres Projects at 20 Years, a new monograph celebrates the gallery's 20th anniversary with authors, art critics, curators, journalists, and editors from around the world. Publications can be purchased here.
From April 2021–April 2022, she responded to “Control the Virus Vol 03,” a year-long digital exhibition curated by Martin Mayorga and Vanessa Murrell, from DATEAGLE ART, and Zaiba Jabbar from HERVISIONS, with short form essays about the twelve digital works. The exhibition was conceptualized as an episodic series to highlight the practices of twelve artists with newly commissioned digital works by Molly Soda, Pinar Yoldas, Natalia Stuyk, Crosslucid, Kumbirai Makumbe, Taína Cruz, Corie McGowan, Sofia Crespo (Entangled Others), Débora Silva, Danielle Brathwaite-Shirley, Maria Mahfooz, and Sybil Montet. For the program, she also conducted intimate virtual conversations with each of the twelve artists. The recordings are accessible for all audiences on YouTube.
In 2021, she collaborated with artist and educator Gabriel Gordon on “Forever 2020” published in stop.gap 003. The third issue of the journal can be purchased here. The same year, she was in conversation with artist Nicholas Grafia for his solo exhibition, “Soul Burner,” at KOËNIG2 by_robbygrief; and was in conversation with performance artist Dagnini for Living Content.
In 2020, she contributed the exhibition essay, “her flora, her fauna,” for artist Hulda Guzmán’s solo exhibition, “my flora, my fauna,” at Alexander Bergruggen Gallery in New York. The catalogue can be purchased here. She also wrote a short essay about Yun Choi’s work and exhibition, “Walking the Dead End,” at Doosan Gallery, New York.
In 2018, she helped manage the production for the 3D lenticular exhibition catalog of “Strange Days: Memories of the Future,” which featured contributions by writer Hilton Als, anthropologist Arjun Appadurai, philosopher Rosi Braidotti, among many others. For this publication, she was in conversation with curator Massimiliano Gioni and artist Wong Ping. She also contributed to exhibition wall texts, writing about works by artists Hassan Khan, Klara Lidén, Wong Ping, and Ragnar Kjartansson with The National. The catalogue can be purchased here.
Throughout her tenure at the New Museum, she helped edit and produce numerous catalogues for the New Museum for artists including Peter Saul, Hans Haacke, Lubaina Himid, Marta Minujín, Nari Ward, Sarah Lucas, Thomas Bayrle, John Akomfrah, as well as for group exhibitions, including “The Same River Twice: Contemporary Art in Athens,” “Strange Days: Memories of the Future,” and the 2018 New Museum Triennial: “Songs for Sabotage.”
In 2018, she wrote the exhibition text for artist Evgeny Antufiev’s solo presentation, “Dead Nation: Short Version,” at Emalin’s New York pop-up gallery space.