Salette Gressett is a trans-Atlantic arts manager with experience across the US, UK and EU. Her interest areas have focused on contemporary artists working beyond traditional art forms including those working in Live Art, visual performance, interdisciplinary and socially- engaged practices. As Arts Manager for the British Council USA based in New York City, her role is cultural exchange expert, arts strategy setter, match-maker, partnership cultivator, presenter and artist host, project creator, facilitator, and public program curator. She supports work that addresses socio-political issues and work by influential artists under-profiled in the US, and introduces British practices to the US that exemplify artistic innovation from the UK. She has developed a Culture and Conflict initiative, an Arts and Social Practice fellowship, and projects highlighting radical disability arts practices. Artists in the program portfolio have included: Tim Etchells in Crossing the Line Festival and Forced Entertainment at CAP UCLA and MCA Chicago, Mat Fraser’s CripFest at BAM Fisher, Kate Tempest at St. Ann’s Warehouse, Adam Curtis at Park Avenue Armory, Simon Critchley in PEN World Voices Festival, John Akomfrah at MSU’s Broad Museum, Forest Fringe at Abrons Art Center and Fusebox Festival, Gob Squad at LA Theatre Center, The Otolith Group at RedCat, and national tours of Michael Clark, Jess Thom, filmmaker Kim Longinotto and writer Tom McCarthy.
For over ten years she held a unique position at national funding agency Arts Council England working across the departments of Visual Arts, Theatre, Dance and Combined Arts to support leading artists and curators creating work outside the margins of conventional art form definitions such as live installation, creative re-enactment, site-specific, immersive theatre, arts activism and evolving performative practices. She managed support for core- funded clients including five national organizations, and for over 260 project-funded grantees with awards totaling over £7.5m for R&D, presenting and touring work. She also managed international touring for the first aerial dance theatre portfolio company of the British Council, Momentary Fusion, when she first moved to London in 1997. Previously, she worked in the public arts funding programs in San Francisco and Los Angeles, and in several artist-led venues including Theatre Artaud in San Francisco and Highways Performance Space in Los Angeles where she began her career working with the founders in the formative years of this influential venue during the culture wars of the early 1990s in the States.