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Cheyenne

@cheyennewj

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Educator. Writer. Curator.
Curatorial Studio🌻| @sipcurationco__
🌅💐@insolidarityofficial

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Introducing Cheyenne Wyzzard-Jones, Floating Museum’s first Burroughs Resident!
@cheyennewj @sipcurationco__ @insolidarityofficial

We are excited to welcome Cheyenne as an inaugural resident of the Burroughs Residency, a pilot program inspired by the life and legacy of Dr. Margaret Burroughs and her commitment to art, education, community, and cross-cultural exchange. Through research, retreat, and engagement with Chicago’s creative communities, the residency creates space for artists and cultural workers to exchange ideas, build relationships, and explore new possibilities.

Cheyenne (they/she) is an interdisciplinary curator, educator, theatre artist, writer, and researcher whose practice is grounded in Black and Indigenous methodologies of storytelling and research. Their work explores transformative justice, land sovereignty, and the impacts of colonialism and environmental exploitation on Black, Indigenous, queer, and migrant communities. Cheyenne is the curator of Spiritual is Political, a curatorial studio working at the intersection of art and global politics, where they bring their collaborative methodology, Ensemble, into exhibitions and cultural programming.

As our first resident, Cheyenne marks an exciting milestone for the Burroughs Residency and the growing network of artists and cultural practitioners who will shape its future.

Please join us in welcoming Cheyenne! We look forward to sharing more about their practice and the connections and conversations that emerge during their residency.

Photos from The Messenger (2025) at Queer [Re]Public Festival. Photographed by Micah Fong.

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Sherae Rimpsey speaks with Cheyenne Wyzzard-Jones (@cheyennewj) about Toni Cade Bambara's "The Salt Eaters", Blackness and the politics and spirit of place found in "Introduction: Black Spiritual Ecologies" at The Front, New Orleans (@thefrontnola).

"The historical significance of each material and the place it was sourced from is important. It is a direct response to the continued practice Black people experience from colonial and supremacist systemic violence, always an extraction of the material or land. That for me is why placemaking is so central, and why it became the first pillar in this inquiry."

Read more from their conversation at the link in bio.
—
1. Darryl DeAngelo Terrell (@blkboyshine), "42º NE 14º49’58″N 17º14’24″W, Dakar, Senegal", 2021, wheat paste installation, 34 x 40 inches. Photograph by and courtesy of the artist. 2. Ingrid Raphaël (@movingbodyofwork), "Buried Under Water, I Remember – Enterré Sous l’Eau, Je Me Souviens," 2026, 46 x 63 inches, textile, canvas, raffia, flower, paper, leather, cyanotype, ink. Photograph by and courtesy of the artist. 3. Installation view of "Black Spiritual Ecologies" (2026) at The Front, New Orleans. Photograph by and courtesy of the Front.

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Closing September 6, 2026

Introduction: Black Spiritual Ecologies, a first presentation in an evolving inquiry! A three-artist exhibition on place, memory, and the practice of getting well.

This is an exhibit features artists Ingrid Raphael, Darryl DeAngelo Terrell, Anthony Peyton Young, Installation by Déja Jones, and is curated by SIP, Spiritual is Political @sipcurationco_

#anthonypeytonyoung #facejugs #rockdove #blackartist #ceramics

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@sipcurationco__ heads to New Orleans to present…

Introduction: Black Spiritual Ecologies, a first presentation in an evolving inquiry! A three-artist exhibition on place, memory, and the practice of getting well.

In conversation with Toni Cade Bambara’s 1980 novel, The Salt Eaters, spiritual in form and political in tone, the exhibition asks a question the novel poses in its opening line: “Are you sure, sweetheart, that you want to be well?”. Like the material and rememory of salt, Black Spiritual Ecologies as a framework layers Black spiritual meaning-making across past, present, and future ecologies. It invites artists and audiences alike into collaboration with materiality, placemaking, storytelling, and the global political conditions of Black life.

Focusing on the pillar of place, each artist converses with the history and spiritual making of a place/places; whether on the ground or in the air. All places that refuse to be forgotten. As a collective story, the artists represent the layering of mediums as a methodology for meaning making. Individually, each artist’s work represents methods for getting well; through flying, portals, or community remembrance, Black life is honored.

- Cheyenne Wyzzard-Jones @cheyennewj

Presented at The Front, 4100 St. Claude Avenue in New Orleans’s Bywater
August 8 – September 6, 2026
Opening Reception: Saturday, August 8, 6–10 PM

More information can be found via our website.

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@catsjellicleball has forever changed what Broadway can be, and we’re incredibly proud that The Theater Offensive has been part of its historic journey as a co-producer.

This past weekend, our staff, alumni, friends, and family traveled to New York City to experience the magic together, celebrate this remarkable production, and reflect on the impact it has had on our community and beyond.

With the show’s final performance on August 8, there’s still time to witness this once-in-a-generation production. If you can, make the trip. Trust us... you don’t want to let this cat slip away. 🐱 🪩 🐾

📸: @sekou_luke

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🌼 Photos honoring this period of time but doesn’t include all the moments and all the loving I’ve encountered this Spring.

📸 Professional photographs of @danspaceproject Conversations Without Walls by Rachel Keane

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Carnival Day! 🇹🇹🇭🇹🎉
Band: @carnivaltribe
Makeup: @popping.pigments
Hair: @bizzystylingyou

Grateful for life and celebrating life!
Happy Birthday @_msella_

Sweet Trinidad❤️ | Feb 2026’ top 3 trip!

#carnivaltribe #trinidadcarnival #trinidadandtobago🇹🇹
#traveler

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WEDTHRUSFRISATSUNMON 🤪 pureeee paceeee - another one thank you Lawd Fadda God 🙌🏾😭 -
TnT carnival season 3

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Day 2: Sunnyside Up [6am] ☀️🇹🇹

Watched the beautiful sunrise as we danced and ate the morning away…

This fete was just right. Performers, food, beautiful people, vibes, and it was a cooler fete. What else do you need?

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We’re delighted to announce our two 2026 Curatorial Research Fellows, Pia Singh and Cheyenne Wyzzard-Jones! As an independent curator and art critic engaged in research across the Mississippi River Basin, Pia Singh will continue contributing to and articulating how local arts and cultural production is foundational to a renewed understanding of regionalism, climate change, and justice in present-day America. Independent curator Cheyenne Wyzzard-Jones will continue the production of Backwater Truths—an ensemble exhibition of eight artists that travels along the Mississippi River, using its path as a framework for sharing its histories, lived realities, and intertwined experiences—and in the process further the development of their “ensemble” curatorial methodology.

This year’s Fellowships support curators who focus on curatorial/artistic practices and alternative histories of the Mississippi River Basin region, an area encompassing nearly 40% of the United States which is broadly defined by its connections (geographic and cultural) to the Mississippi River. ICI’s Curatorial Research Fellowship program reflects our commitment to the advancement of new knowledge and practices, offering an individualized framework for supporting curators’ research, travel, and development as well as mentorship and access to ICI’s unparalleled network. We're so excited are delighted to work with these two curators, whose timely and innovative projects are pushing the curatorial field forward. Learn more about the Fellowships on our website!

#ICIFellowships @proto_pia9 @cheyennewj

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Now on our website, read a new essay by Cheyenne Wyzzard-Jones (Mississippi River Basin Curatorial Research Fellow, 2026). In a poetic exploration of their curatorial practice, Wyzzard-Jones introduces Backwater Truths, an ensemble exhibition of eight artists whose work and livelihoods are rooted along the Mississippi River. Through an act of “ensemble-building” and frameworks of Layering, Aliveness, and Black Cartographies, they explore the power and complexity of the term “backwater” in conversation with themes of reimagining and remembrance. Backwater Truths “continues a conversation about how the river is discussed and engaged across different regions, from the Midwest to the Gulf South, an exhibition that evolves as it moves upriver and downriver along the Mississippi River… allowing St. Louis narratives to flow to New Orleans, New Orleans stories to return to St. Louis, and new meanings to emerge along the way.” If backwater has historically signified stagnation, neglect, or lesser value, especially when applied to Black and Indigenous geographies, then Backwater Truths insists otherwise.

#MissRiverBasin #ICIFellows @cheyennewj

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Workshop Alert! 🔥 RSVP by 1/20 at the link in our bio!

Join us for Professional Development for Educators, a full-day workshop for educators, teaching artists, and cultural workers, positioning you not only as audience members, but as co-learners and collaborators in the artistic, social, and political questions in the production of The Great Privation.

The initiative was developed to extend the impact of our performances beyond the stage and into classrooms and learning communities across the city. What can we learn about ourselves, each other, and our students that will help shape classrooms where imagination and liberation are central?

Led by C1 Associate Director of Education Cheyenne Wyzzard-Jones with guest presenter Angela T. Tate, Chief Curator of the Museum of African American History.

This dynamic workshop dives into American storytelling practices through the lenses of ritual, rest, and the Black metropolis. Expect to explore:

✨ The storytelling of Allan Rohan Crite and Meta Vaux Warrick Fuller, alongside powerful Black ritual material objects
🎭 Embodied Theatre of the Oppressed practices
⚡ Stage One’s Changemaker Framework
📖 The Great Privation by Nia Akilah Robinson

Come move, reflect, create, and imagine — and that’s just the beginning.

This program is made possible thanks to support from @emersoncollege

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