Association of Art Museum Curators 13th Annual Meeting May 3 â€“ 6, 2014
Association of Art Museum Curators 174 East 80th Street New York, NY 10075 www.artcurators.org
PRESIDENT’S WELCOME Dear AAMC Members, Supporters, Friends, and Hosts, Never, it seems, have the stakes been so high in the world of art museums than now in Detroit, where strategies to save a city and save a museum—fates deeply intertwined—are being played out here and now. Literally.
CONTENTS PRESIDENT’S WELCOME
EXECUTIVE DIRECTOR’S INTRODUCTION
AAMC BOARD OF TRUSTEES, OFFICERS & STAFF
2014 CONFERENCE AGENDA
CONFERENCE-RELATED AWARDS & PROGRAMS
SPONSORS & SUPPORTERS
LEADERSHIP CIRCLE MEMBERS
PANEL DESCRIPTIONS & PRESENTER BIOGRAPHIES
Last year, AAMC’s former and beloved executive director, Sally Block, had the brilliant idea of moving the annual meeting of the AAMC to Detroit, not to meddle or interfere but to be, simply, present. Following the logic that actions are louder than words, we thought, what better way to show our support of one of the great art institutions in the United States, and the leadership and staff who have continued its ongoing excellence despite every challenge thrown at them, than for hundreds of art museum curators from everywhere to gather together for its annual meeting in Detroit? Just picture it! And now we can. On behalf of Judith Pineiro, the AAMC’s new and inspired executive director; Meredith Dean, the AAMC’s first full-time administrator, and the active, energetic AAMC Board, I would like to welcome you to Detroit. We are indebted to so many who have made this conference possible, including Graham W. J. Beal, Director, President and CEO, and Salvador Salort-Pons, Head of European Art Department at the Detroit Institute of Arts; Brian P. Kennedy, President, Director and CEO, and Carolyn Putney, Director of Collections, Chief Curator and Curator of Asian Art, Toledo Museum of Art; Gary Wasserman, our Leadership Circle Dinner host and founder of the Wasserman Projects; Gregory M. Wittkopp, Director, Cranbrook Art Museum and Cranbrook Center for Collections and Research; the AAMC’s Conference Co-Chairs, Julian Cox, Founding Curator of Photography and Chief Curator, Fine Arts Museum of San Francisco, and Sandra Q. Firmin, Director and Chief Curator, Colorado University Art Museum; and all who helped to bring the AAMC to Detroit. Here in the city popularly known as Motown, its name indebted to the car culture that helped to define the 1950s, we reconnect with old friends and colleagues, network with new ones, learn from one another and the experts brought in to share their experiences and advice, and honor our own with AAMC prizes. Set against such a culturally-rich city and region, including Bloomfield Hills and Toledo, and amidst the grandeur of the DIA, we will undoubtedly be inspired by what art can do, and humbled by the fragility of its power, when institutions charged with its protection and its meaning, can be so easily misunderstood at best and under siege at worst. As art museum curators, we advocate everyday that the art in our care and the institutions entrusted with them will continue to endure and to flourish, something we know we cannot take for granted. So, in the spirit of hope and celebration, onward with the program and, with a nod to Smokey Robinson, let’s second that emotion!
EMILY BALLEW NEFF President, AAMC Wylodean and Bill Saxon Director and Chief Curator, Fred Jones Jr. Museum of Art, University of Oklahoma
EXECUTIVE DIRECTOR’S INTRODUCTION As I write this introduction, I am nearing my threemonth anniversary with the Association of Art Museum Curators (AAMC). While my experience with the organization is in its infancy, particularly compared with so many of our members and supporters, it has been an exciting, productive, and optimistic time. First, let me express my gratitude to the AAMC board, led by Emily Ballew Neff, committees, and members for their warm welcome. In addition, it is every new Executive Director’s dream to have such an outstanding predecessor. Sally Block has been a wonderful teacher and collaborator. To date in 2014, AAMC has awarded the second annual ADAA Foundation Curatorial Awards; held a successful CAA Panel in Chicago entitled The Art Museum Curator: Persevere, Adapt, or Reinvent; launched the application process for the pilot year of the Samuel H. Kress Foundation AAMC Affiliated Fellowship at the American Academy in Rome; selected Award of Excellence prize winners under new guidelines (to be announced at the Annual Meeting); initiated the second year of the Mentorship Program, with new benefits including mentor and travel stipends, webinars, and direct engagement of a newly formed AAMC Committee; and held a Professional Development Webinar on Working with Living Artists. Of course, we can now add bringing AAMC members to Detroit to the list of achievements for the organization this year! A huge “thank you” to everyone who made all of these successes possible. The dedication of the membership to the AAMC’s mission and goals is what has made the organization a valuable resource and a successful model. In an ever-changing field, with new challenges and opportunities at every corner, the AAMC has been a haven for curators to keep up-to-date, share experiences, and impart knowledge to the next generation. The organization will continue to do so in the future by expanding and enhancing networking and professional development programming. The AAMC is grateful for your support, and we hope that you’ll share the positive impact the organization has had on your professional development with colleagues—encouraging them to become members too. Enjoy your time in Detroit, and thank you to everyone, especially our host institutions, for making this conference possible!
AAMC BOARD OF TRUSTEES, OFFICERS & STAFF BOARD OF TRUSTEES 2013—2014 PAOLA ANTONELLI, Senior Curator in the Department of Architecture and Design, The Museum of Modern Art
LYNDA ROSCOE HARTIGAN, The James B. and Mary Lou Hawkes Chief Curator, Peabody Essex Museum
ANDREA BAYER, Curator, Department of Paintings, The Metropolitan Museum of Art
MARIANNE LAMONACA, Associate Gallery Director and Chief Curator, Bard Graduate Center Gallery
GRAHAM C. BOETTCHER, The William Cary Hulsey Curator of American Art, Birmingham Museum of Art CHRISTA CLARKE, Senior Curator, Arts of Global Africa, Newark Museum DEBORAH CULLEN, Director and Chief Curator, Miriam & Ira D. Wallach Art Gallery, Columbia University JUDITH F. DOLKART, Deputy Director of Art and Archival Collections and Gund Family Chief Curator, The Barnes Foundation CATHERINE EVANS, Chief Curator, Carnegie Museum HELEN C. EVANS, Mary and Michael Jaharis Curator of Byzantine Art, The Metropolitan Museum of Art RITA E. FREED, John F. Cogan and Mary L. Cornille Chair, Art of the Ancient World, Museum of Fine Arts, Boston GLORIA GROOM, Senior Curator, David and Mary Winton Green Curator of 19th Century European Painting & Sculpture, Art Institute of Chicago
MARY MORTON, Curator and Head of Department, French Paintings, National Gallery of Art EMILY BALLEW NEFF, Wylodean and Bill Saxon Director and Chief Curator, Fred Jones Jr. Museum of Art, University of Oklahoma MARINA PACINI, Chief Curator, Memphis Brooks Museum of Art CAROLYN PUTNEY, Chief Curator, Curator of Asian Art, Toledo Museum of Art JOHN RAVENAL, Sydney and Frances Lewis Family Curator of Modern and Contemporary Art, Virginia Museum of Fine Arts WILLIAM KEYSE RUDOLPH, Andrew W. Mellon Foundation Chief Curator and Marie and Hugh Halff Curator of American Art, San Antonio Museum of Art MARK SCALA, Chief Curator, Frist Center for the Visual Arts JON SEYDL, Director of Curatorial Affairs and Curator of European Art, Worcester Art Museum GEORGIANA UHLYARIK, Associate Curator, Canadian Art, Art Gallery of Ontario
EMERITUS & EX-OFFICIO TRUSTEES ELIZABETH W. EASTON, Past President, Co-Founder and Director, Center for Curatorial Leadership CAROL S. ELIEL, Past President, Curator of Modern Art, Los Angeles County Museum of Art GEORGE T.M. SHACKELFORD, Past President, Deputy Director, Kimbell Art Museum GARY TINTEROW, Past President, Director, Museum of Fine Arts, Houston JOHN B. KOEGEL, General Counsel, The Koegel Group LLP
JUDITH PINEIRO Executive Director, AAMC
2014 AAMC OFFICERS
EMILY BALLEW NEFF, President
JUDITH PINEIRO, Executive Director
CHRISTA CLARKE, Vice President, Programs
MEREDITH DEAN, Administrator
CATHERINE EVANS, Vice President, Governance HELEN C. EVANS, Vice President, Finance MARIANNE LAMONACA, Vice President, Communications
2014 CONFERENCE AGENDA 9:30 AM
SATURDAY, MAY 3, 2014 THE HEIDELBERG PROJECT & POWER HOUSE PRODUCTIONS 1:00 PM
DAY TOURS: ONE OF TWO OPTIONS The Heidelberg Project & Power House Productions OR Edsel & Eleanor Ford House
SUNDAY, MAY 4, 2014 MUSEUM OF CONTEMPORARY ART DETROIT, SCARAB CLUB & TOLEDO MUSEUM OF ART 1:00 PM
TOUR Museum of Contemporary Art Detroit (MOCAD) 1:00 PM
AAMC BOARD OF DIRECTORS MEETING Scarab Club ( Invitation Only ) 4:00 PM — 7:00 PM
RECEPTION AT THE TOLEDO MUSEUM OF ART
PANEL: URBAN ECOLOGIES AND CULTURAL EXCHANGE Organizer & Moderator SANDRA Q. FIRMIN, Director and Chief Curator, Colorado University Art Museum Panelists CHRISTINA CHANG, Curator of Engagement, Minnesota Museum of American Art MICHAEL CHAVEZ, Public Art Program Manager, City and County of Denver ANDREW HERSCHER, Associate Professor, Taubman College of Architecture and Urban Planning, University of Michigan PATRICIA LANNES, Founder and Director, CALTA21—Queensborough Community College 10:45 AM
PECHA KUCHA: SESSION 1 Presenters (in order of appearance) TOBY LAWRENCE, Assistant Curator, Art Gallery of Greater Victoria, “Poetics and Ecologies in Contemporary Photography: Landscapes, Land Claims, Land Usages” GINGER GREGG DUGGAN, Curator, c2— curatorsquared, “Is Guilty Pleasures Our Guilty Pleasure?” JOANNE S. NORTHRUP, Director of Contemporary Art Initiatives, Nevada Museum of Art, “Late Harvest”
Organizer & Moderator KIMBERLI GANT, PhD Candidate and Independent Curator, University of Texas at Austin Panelists CANDICE HOPKINS, Independent Curator and Co-Curator, SITElines.2014: “New Perspectives on Art of the Americas,” SITE Santa Fe VALERIE J. MERCER, Curator and Department Head, General Motors Center for African American Art, Detroit Institute of Arts JOAN WEINSTEIN, Deputy Director, Getty Foundation 4:45 PM
PECHA KUCHA: SESSION 2 Presenters (in order of appearance) RACHEL ADAMS, Independent Curator, Rachel Adams Projects, “Wanderlust” SARAH ROBERTS, Andrew W. Mellon Foundation Associate Curator of Painting and Sculpture, San Francisco Museum of Modern Art, “The Pleasure and Pain of Online Scholarly Publishing” SARAH HALL, Director of Curatorial Affairs, Frick Art & Historical Center, “Collections & Stories, Curators & Educators: Developing Interactive Interpretive Content Together” GRAHAM C. BOETTCHER, The William Cary Hulsey Curator of American Art, Birmingham Museum of Art, “Dragon Style: The Viking Revival in American Art”
KEYNOTE ADDRESS MARIËT WESTERMANN, Vice President, Andrew W. Mellon Foundation 2:30 PM
MONDAY, MAY 5, 2014 DETROIT INSTITUTE OF ARTS Sessions will take place in the Lecture Hall 8:30 AM
FREEMAN’S SPONSORED COFFEE RECEPTION & CHECK-IN 9:15 AM
WELCOME GRAHAM W. J. BEAL, Director, President and CEO, Detroit Institute of Arts 4
ADAA SPONSORED MEMBERS’ RECEPTION 7:30 PM – 9:30 PM
LEADERSHIP CIRCLE DINNER
PRESIDENT’S ADDRESS & ANNOUNCEMENT OF 2013 AWARDS OF EXCELLENCE
Hosted by Gary Wasserman ( Invitation Only )
EMILY BALLEW NEFF, AAMC President, Wylodean and Bill Saxon Director and Chief Curator, Fred Jones Jr. Museum of Art, University of Oklahoma
TUESDAY, MAY 6, 2014
PANEL: THE CONVERSATION THAT WON’T QUIT: DIVERSIFYING THE CURATORIAL FIELD Organizer SALLY BLOCK, former Executive Director, AAMC
Organizer MICHELLE YUN, Curator of Modern and Contemporary Art, Asia Society Museum Organizer & Moderator ADRIANA PROSER, John H. Foster Senior Curator of Traditional Asian Art, Asia Society Museum Panelists ANITA CHUNG, Curator of Chinese Art, The Cleveland Museum of Art MADHUVANTI GHOSE, Alsdorf Associate Curator of Indian, South Indian, Southeast Asian, Himalayan, and Islamic Art, Art Institute of Chicago YASUFUMI NAKAMORI, Associate Curator of Photography, Museum of Fine Arts, Houston 11:30 AM
SOTHEBY’S SPONSORED LUNCH IN HARTMANN GALLERY Time to visit Cranbrook Art Museum’s new 30,000 square-foot Collections Wing (“The Vault”), Saarinen House (the 1930 home and studio of Eliel and Loja Saarinen), and 2014 Graduate Degree Exhibition of Cranbrook Academy of Art. Access hosted by the Cranbrook Art Museum. 2:00 PM
CRANBROOK ACADEMY OF ART Sessions will take place in the deSalle Auditorium 9:00 AM
PANEL: AMERICAN CURATORS AND EXCHANGE WITH ASIA IN THE 21ST CENTURY
SKINNER SPONSORED COFFEE RECEPTION AT MILLES HOUSE 9:30 AM
WELCOME TO CRANBROOK ADDRESS GREGORY M. WITTKOPP, Director, Cranbrook Art Museum and Cranbrook Center for Collections and Research
WORKSHOP: SOCIAL MEDIA FOR CURATORS 101: KNOW YOUR PLATFORMS Moderator & Participant CHRISTINE KLOOSTRA, Executive Director, Marketing & Communications, Detroit Institute of Arts Participants STEPHANIE ELTON, Social Media and Digital Communications Manager, Toledo Museum of Art MICHAEL KULICK, Web and Digital Media Manager, Museum of Contemporary Art Detroit 4:00 PM
CONFERENCE CONCLUDES 5
CONFERENCE-RELATED AWARDS & PROGRAMS AWARDS FOR EXCELLENCE The Awards for Excellence have honored more than 85 curators for their outstanding work in catalogues, essays, articles, and exhibitions. The AAMC Awards for Excellence are the only awards of their kind by which curators honor their own.
SPONSORS & SUPPORTERS The AAMC is deeply grateful for the support of the following Conference Sponsors and Supporters.
Prizes are awarded in the following categories: ·· Outstanding Catalogue for Museums with an operating budget up to $4 million ·· Outstanding Catalogue for Museums with an operating budget between $4 and $20 million ·· Outstanding Catalogue for Museums with an operating budget over $20 million ·· Outstanding Exhibition for Museums with an operating budget up to $4 million ·· Outstanding Exhibition for Museums with an operating budget between $4 and $20 million ·· Outstanding Exhibition for Museums with an operating budget over $20 million ·· Outstanding Essay, Article, or Extended Catalogue Entry
CONFERENCE TRAVEL FELLOWSHIPS Each year the AAMC is honored to award Curatorial Fellowships for Travel to our Annual Conference. While curators of all disciplines and career levels are encouraged to apply, we are especially interested in receiving applications from junior curators, those without travel funding, and curators without professional development support. Multiple curators from one museum are eligible. The AAMC Foundation is grateful to the Samuel H. Kress Foundation for providing support to our Curatorial Fellowships for Travel to the 2014 AAMC Annual Conference.
MENTORSHIP PROGRAM The AAMC Mentorship Program, launched in September 2012, reinforces AAMC’s mission to foster the professional development of curators at all levels. Each year, approximately five to eight sets of established, senior curators (mentors) and emerging to mid-career curators (mentees) embark on the 12-month program. The AAMC Foundation is grateful to the Emily Hall Tremaine Foundation for their funding of the Mentorship Program.
SUPPORTERS Cranbrook Academy of Art Detroit Institute of Arts Edsel & Eleanor Ford House The Heidelberg Project
Museum of Contemporary Art Detroit Power House Productions Scarab Club Toledo Museum of Art
This year’s conference would not be possible without the dedication of the individuals listed below. Graham W. J. Beal Graham C. Boettcher Sally Block Jason Busch Christina Chang Christa Clarke Robin Clark Julian Cox Meredith Dean Elizabeth W. Easton Catherine Evans Helen C. Evans Jennifer Farrell Sandra Q. Firmin Kimberli Gant Madeleine Haddon Hannah Howe
Brian P. Kennedy Marianne Lamonaca Emily Ballew Neff Lawrence Nichols Julie Pierotti Salvador Salort-Pons Adriana Proser Carolyn Putney John Ravenal Elysia Borowy-Reeder Josephine Shea Tomoko Takahashi Michael Ward Gary Wasserman Mariët Westermann Gregory M. Wittkopp Michelle Yun
The AAMC is grateful to the following for their year-round support of the organization. AAMC Leadership Circle Art Dealers Association of America Samuel H. Kress Foundation
Henry Luce Foundation Emily Hall Tremaine Foundation
Pace Gallery salutes
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Disguise and Contemporary African Art Ms. Pamela McClusky, Curator of Art of Africa and Oceania, Seattle Art Museum. Female Farming Animal headdress (Ci Wara), Seattle Art Museum, Gift of Katherine White and the Boeing Company
The Art Dealers Association of America Foundation (ADAA Foundation) and the Association of Art Museum Curators Foundation (AAMC Foundation) have announced the 2013 recipients.
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LEADERSHIP CIRCLE MEMBERS
INSTITUTIONAL SUPPORTERS March 15, 2013 — March 15, 2014
The Leadership Circle is comprised of the AAMC’s most dedicated supporters.
Dita Amory Brooke Davis Anderson Paola Antonelli Colin B. Bailey Stephanie Barron Andrea Bayer Frances Beatty Graham C. Boettcher Emily Braun The Broad Art Foundation Hiram Butler Christa Clarke James Cohan Julia Courtney Sue Stubbs Cutler Elliott Bostwick Davis Lisa Dennison, Sotheby’s Douglas Druick Elizabeth W. Easton Carol S. Eliel Catherine Evans Helen C. Evans Charlotte Eyerman Linda Ferber Billy & Jennifer Frist Mr. & Mrs. Alain Goldrach Peter Goulds Michael Govan Alison de Lima Greene 14
Gloria Groom Agnes Gund Lynda Roscoe Hartigan Mary Tavener Holmes Mr. & Mrs. Michael J. Horvitz Frederick Ilchman Norman Kleeblatt Alice & Nahum Lainer Frank Lloyd Marquand Books Mary Morton Emily Ballew Neff Cynthia Hazen Polsky & Leon Polsky Jordana Pomeroy Emily Rauh Pulitzer John B. Ravenal Pamela K. & William A. Royall, Jr. Mark Scala George T.M. Shackelford Lowery Stokes Sims Frank Stella Cindi Strauss Marion Boulton Stroud Ann Temkin Gary Tinterow John C. Weber Stephan Wolohojian Ann Yonemura
Academy Art Museum Addison Gallery of American Art Judith & Norman Alix Art Gallery Art Gallery of Ontario The Art Museum at the University of Kentucky Asia Society and Museum The Baltimore Museum of Art The Barnes Foundation Bemis Center for Contemporary Art Mary and Leigh Block Museum of Art, Northwestern University Birmingham Museum of Art Brandywine River Museum Memphis Brooks Museum of Art Amon Carter Museum of American Art Chrysler Museum of Art Sterling and Francine Clark Art Institute The Cleveland Museum of Art The Colonial Williamsburg Foundation Currier Museum of Art Delaware Art Museum Denver Art Museum The Drawing Center Frick Art & Historical Center The Frick Collection Frist Center for the Visual Arts Isabella Stewart Gardner Museum J. Paul Getty Museum Gibbes Museum of Art Solomon R. Guggenheim Museum The Hammer Museum at UCLA Harvard Art Museums Henry Art Gallery, University of Washington Hood Museum of Art, Dartmouth College Mildred Lane Kemper Art Museum, Washington University Kimbell Art Museum Los Angeles County Museum of Art The Menil Collection The Metropolitan Museum of Art Minneapolis Institute of Arts Mississippi Museum of Art MIT List Visual Arts Center Montreal Museum of Fine Arts Charles Hosmer Morse Museum of American Art Museum of Art, Fort Lauderdale Museum of Contemporary Art, Jacksonville Museum of Fine Arts, Boston
The Museum of Fine Arts, Houston The Museum of Modern Art Nasher Museum of Art at Duke University Nasher Sculpture Center National Gallery of Art National Gallery of Canada The Nelson-Atkins Museum of Art Neuberger Museum of Art, Purchase College Neue Galerie New Orleans Museum of Art Newark Museum North Carolina Museum of Art Norton Museum of Art Georgia O’Keeffe Museum Palm Springs Art Museum Palmer Museum of Art, Pennsylvania State University Parrish Art Museum Peabody Essex Museum Pennsylvania Academy of the Fine Arts Philadelphia Museum of Art Phoenix Art Museum Pomona College Museum of Art Portland Art Museum Norman Rockwell Museum Saint Louis Art Museum Seattle Art Museum Smart Museum of Art, The University of Chicago Smith College Museum of Art Smithsonian American Art Museum Snite Museum of Art, University of Notre Dame The Frances Young Tang Teaching Museum and Art Gallery Telfair Museums Toledo Museum of Art Tufts University Art Gallery Virginia Museum of Contemporary Art The Wadsworth Atheneum Museum of Art Weatherspoon Art Museum, University of North Carolina at Greensboro Wichita Art Museum Williams College Museum of Art The Wolfsonian, Florida International University Worcester Art Museum Yale Center for British Art Yale University Art Gallery
COMMITTEE MEMBERS The AAMC is grateful for the dedication of our Committee Members. EXECUTIVE COMMITTEE EMILY BALLEW NEFF, Wylodean and Bill Saxon Director and Chief Curator, Fred Jones Jr. Museum of Art, University of Oklahoma, President CATHERINE EVANS, Chief Curator, Carnegie Museum, Vice President, Governance HELEN C. EVANS, Mary and Michael Jaharis Curator of Byzantine Art, The Metropolitan Museum of Art, Vice President, Finance CHRISTA CLARKE, Senior Curator, Arts of Global Africa, Newark Museum, Vice President, Programs MARIANNE LAMONACA, Associate Gallery Director and Chief Curator, Bard Graduate Center Gallery, Vice President, Communications
CAREER SUPPORT COMMITTEE BROOKE DAVIS ANDERSON, Executive Director, Prospect New Orleans ANDALEEB B. BANTA, Curator of European and American Art, Allen Memorial Art Museum, Oberlin College, Co-Chair ANDREA BAYER, Curator, Department of Paintings, The Metropolitan Museum of Art CAROL S. ELIEL, Curator of Modern Art, Los Angeles County Museum of Art CATHERINE L. FUTTER, The Helen Jane and R. Hugh “Pat” Uhlmann Senior Curator of Architecture, Design, and Decorative Arts, Nelson-Atkins Museum of Art, Co-Chair GLORIA GROOM, Senior Curator, David and Mary Winton Green Curator of 19th Century European Painting and Sculpture, Art Institute of Chicago RUSSELL LORD, Curator of Photographs, New Orleans Museum of Art TRICIA Y. PAIK, Associate Curator of Modern and Contemporary Art, Saint Louis Art Museum JERRY N. SMITH, Curator of American and Western American Art, Phoenix Art Museum SASHA SUDA, Associate Curator European Art, Art Gallery of Ontario
CONFERENCE COMMITTEE JASON BUSCH, Deputy Director for Curatorial Affairs and Museum Programs, Saint Louis Art Museum CHRISTINA CHANG, Curator of Engagement, Minnesota Museum of American Art ROBIN CLARK, Independent Curator CHRISTA CLARKE, Senior Curator, Arts of Global Africa, Newark Museum, Vice President, Programs JULIAN COX, Founding Curator of Photography and Chief Curator, Fine Arts Museum of San Francisco, Co-Chair JENNIFER FARRELL, Curator of Exhibitions and Contemporary Art, University of Virginia Art Museum SANDRA Q. FIRMIN, Director and Chief Curator, Colorado University Art Museum, Co-Chair JULIE PIEROTTI, Associate Curator, Dixon Gallery and Gardens SALVADOR SALORT-PONS, Head of the European Art Department, Detroit Institute of Arts JOSEPHINE SHEA, Curator, Edsel & Eleanor Ford House
FINANCE, AUDIT & FUNDRAISING INITIATIVES COMMITTEE GRAHAM C. BOETTCHER, The William Cary Hulsey Curator of American Art, Birmingham Museum of Art, Chair, Fundraising Initiatives DEBORAH CULLEN, Director and Chief Curator, Miriam and Ira D. Wallach Art Gallery, Columbia University HELEN C. EVANS, Mary and Michael Jaharis Curator of Byzantine Art, The Metropolitan Museum of Art, Vice President, Finance, Chair Finance & Audit LYNDA ROSCOE HARTIGAN, Chief Curator, Peabody Essex Museum CAROLYN PUTNEY, Director of Collections, Chief Curator and Curator of Asian Art, Toledo Museum of Art JON SEYDL, Director of Curatorial Affairs, Worcester Art Museum
GOVERNANCE & NOMINATING COMMITTEE CHRISTA CLARKE, Senior Curator, Arts of Global Africa, Newark Museum, Vice President, Programs CAROL S. ELIEL, Curator of Modern Art, Los Angeles County Museum of Art, Co-Chair CATHERINE EVANS, Chief Curator, Carnegie Museum, Vice President, Governance, Co-Chair ALISON DE LIMA GREENE, Curator, Contemporary Art and Special Projects, Museum of Fine Arts, Houston 16
LAWRENCE NICHOLS, William Hutton Senior Curator, European and American Painting and Sculpture before 1900, Toledo Museum of Art GEORGE T.M. SHACKELFORD, Deputy Director, Kimbell Art Museum GEORGIANA UHLYARIK, Associate Curator, Canadian Art, Art Gallery of Ontario MICHELLE JOAN WILKINSON, Museum Curator, Smithsonian Museum of African American History and Culture
MEMBERSHIP COMMITTEE RACHAEL ARAUZ, Independent Curator LISA HOSTETLER, Curator-in-Charge, Department of Photography, George Eastman House International Museum of Photography and Film MICHELLE JACQUES, Chief Curator, Art Gallery of Greater Victoria, Co-Chair AMBER LUDWIG, Curatorial Assistant, Honolulu Museum of Art WILLIAM KEYSE RUDOLPH, Andrew W. Mellon Foundation Chief Curator and Marie and Hugh Halff Curator of American Art, San Antonio Museum of Art MARK SCALA, Chief Curator, Frist Center for the Visual Arts, Co-Chair ELSA SMITHGALL, Curator, The Phillips Collection
PRIZE COMMITTEE JUDITH F. DOLKART, Deputy Director of Art and Archival Collections and Gund Family Chief Curator, The Barnes Foundation, Chair MICHELLE HARGRAVE, Curator of Exhibitions, American Federation of Arts JOHN MARCIARI, Independent Curator NATALIE MAULT, Curator, LSU Museum of Art MARY MORTON, Curator, National Gallery of Art MARINA PACINI, Chief Curator, Memphis Brooks Museum of Art MARISA PASCUCCI, Curator of 20th Century & Contemporary Art, Boca Raton Museum of Art JANIS STAGGS, Associate Curator, Neue Galerie
PROFESSIONAL DEVELOPMENT COMMITTEE WILLIAM BREAZEALE, Curator, Crocker Art Museum ALISON CHANG, Andrew W. Mellon Curatorial Fellow, Rhode Island School of Design Museum JAY CLARKE, Manton Curator of Prints, Drawings, and Photographs, Sterling and Francine Clark Art Institute, Chair HEATHER MACDONALD, The Lillian and James H. Clark Associate Curator of European Art, Dallas Museum of Art JEN MERGEL, Associate Curator, Institute of Contemporary Art TANYA PAUL, Isabel and Alfred Bader Curator of European Art, Milwaukee Art Museum JONATHAN STUHLMAN, Senior Curator of American, Modern, and Contemporary Art, Mint Museum KENNETH WAYNE, Independent Curator
WEBSITE COMMITTEE RACHEL ADAMS, Independent Curator, Rachel Adams Projects SHARON MATT ATKINS, Managing Curator of Exhibitions, Brooklyn Museum C.D. DICKERSON, Curator of European Art, Kimbell Art Museum, Co-Chair SUSAN FRANK, Associate Curator for Research, Phillips Collection ALISON DE LIMA GREENE, Curator, Contemporary Art and Special Projects, Museum of Fine Arts, Houston BROOKE KELLAWAY, Associate Curator, Museum of Contemporary Art Santa Barbara MARIANNE LAMONACA, Associate Gallery Director and Chief Curator, Bard Graduate Center Gallery, Vice President, Communications, Co-Chair MARY-KAY LOMBINO, Curator of Contemporary Art and Photography, Frances Lehman Loeb Art Center MEREDITH MALONE, Assistant Curator, Mildred Lane Kemper Art Museum KERRY OLIVER-SMITH, Curator of Contemporary Art, Samuel P. Harn Museum of Art, University of Florida LEE VEDDER, Independent Curator 17
PANEL DESCRIPTIONS & PRESENTER BIOGRAPHIES and her MA and PhD in the History of Art at NYU’s Institute of Fine Arts.
WELCOME AND UPDATE ON THE DETROIT INSTITUTE OF ARTS GRAHAM W. J. BEAL, Director, President, and CEO, Detroit Institute of Arts
Thank you to all the participants in the 2014 conference. Below are session descriptions and short biographies about our speakers, panelists, and presenters. KEYNOTE SPEAKER MARIËT WESTERMANN, Vice President, Andrew W. Mellon Foundation Mariët Westermann is Vice President of The Andrew W. Mellon Foundation. Prior to taking up her position at the Foundation, Ms. Westermann was Provost and Chief Academic Officer of New York University Abu Dhabi, having started the development of the campus in 2007. At NYU, she was also Director of the Institute of Fine Arts for six years, after serving as Associate Director of Research and Academic Programs at the Clark Art Institute in Massachusetts, and as Assistant and Associate Professor at Rutgers University. A historian of European art, Ms. Westermann is the author of several books, including A Worldly Art: The Dutch Republic 15851718 (ranked a Notable Book of the Year by the New York Times), The Amusements of Jan Steen: Comic Painting in the 17th Century, Rembrandt: Art and Ideas, and Anthropologies of Art. Collaborating frequently with museums, she wrote the Rijksmuseum Dossier: Johannes Vermeer and served as guest curator of the exhibition Art and Home: Dutch Interiors in the Age of Rembrandt (Newark Museum and Denver Art Museum). Her current research concerns the medium of painting as a resource of European culture and the Garden of Eden in the imagination of Judaism, Christianity, and Islam. Ms. Westermann received her BA magna cum laude in History from Williams College, 18
Graham W. J. Beal has been Director, President, and CEO of the Detroit Institute of Arts (DIA) since 1999. Since joining the DIA’s leadership, Beal has overseen two major capital campaigns and the renovation and expansion of the facility, as well as guiding the reinstallation of the museum’s stellar collection in new and exciting ways. Beal has continued to build on the Museum’s outstanding reputation with regard to art acquisitions and exhibitions, and has greatly expanded the DIA’s community outreach through programing and innovative art installations. Under Beal’s leadership, the DIA has co-organized outstanding exhibitions such as Van Gogh: Face to Face in 2000 and Magnificenza! The Medici, Michelangelo and the Art of Late Renaissance Florence in 2003. Among the other exhibitions presented during Beal’s tenure are Degas and the Dance, 2002; American Attitude: Whistler and His Followers, 2003; Camille Claudel and Rodin: Fateful Encounter, 2006; and Rembrandt and the Face of Jesus, 2011. Prior to his tenure at the DIA, Beal served as Director of the Los Angeles County Museum of Art from 1996 to 1999. He held the position of Director of the Joslyn Art Museum in Omaha, Nebraska, from 1989 to 1996 and served as Chief Curator at the San Francisco Museum of Modern Art from 1984 to 1989. Beal has published many exhibition catalogues, books, and articles, including an exhibition catalogue on the DIA’s American paintings. He has served on numerous art panels, was a member of the Federal Advisory Committee on International Exhibitions from 1991 to 1995, and a member of the Board of Trustees of the Association of Art Museum Directors and Chair of its Art Issues Committee from 2002 to 2005. He served on the Board of Trustees of the American Association of Museums from 2004 to 2007. Beal, a US citizen, is a native of Great Britain, born in Stratford-on-Avon. He has degrees in English and Art History from the University of Manchester and the Courtauld Institute of Art.
WELCOME TO CRANBROOK ADDRESS GREGORY M. WITTKOPP, Director, Cranbrook Art Museum and Cranbrook Center for Collections and Research Gregory Wittkopp is the Director of Cranbrook Art Museum and the Cranbrook Center for Collections and Research. Under his leadership, the art museum recently completed a major construction project that includes the renovation of its landmark 1942 Eliel Saarinen-designed building and the addition of a new state-of-the-art 30,000 square-foot collections education wing. His research and publications during his 28-year tenure have focused on Cranbrook and its artists, most notably the Finnish-American architect Eliel Saarinen, and include the award-winning book Saarinen House and Garden: A Total Work of Art. Recent curatorial projects and exhibition catalogues include The Anatomy of a Home: Anders Ruhwald at Saarinen House and No Object Is an Island: New Dialogues with the Cranbrook Collection. Wittkopp serves on the board of the Association of Midwest Museums, is a Past President of the Michigan Museums Association, and is the member of the Association of Art Museum Directors. He holds an MA in Art History from Wayne State University and a BS in Architecture from the University of Michigan.
PRESIDENT’S WELCOME EMILY BALLEW NEFF, Wylodean and Bill Saxon Director and Chief Curator, Fred Jones Jr. Museum of Art, University of Oklahoma Since January of 2014, Emily Ballew Neff has served as the Wylodean and Bill Saxon Director and Chief Curator of the Fred Jones Jr. Museum of Art at the University of Oklahoma. Prior to her current appointment, she served as the founding curator of American painting and sculpture at the Museum of Fine Arts, Houston, where she helped the trustees and institution’s leadership establish a significant presence for the museum in the field of American art, grew the museum’s collections by more than 30 percent, built a dynamic patron support group, organized more than 20 exhibitions at the museum, and coordinated 14 traveling shows from other institutions. Interested in organizing exhibitions that push the field of American art in new and innovative directions, Neff most recently mounted American Adversaries: West and Copley in
a Transatlantic World, which received praise for its innovative approach to exhibiting colonial art in a global context. Its exhibition catalogue earned an award from Tyler Green as MAN’s best art book of the year for 2013. Other exhibitions include The Modern West: American Landscapes, 1890-1950, a show of more than 100 paintings and photographs, including paintings of the Santa Fe Indian School, that examined the role the American West played in the development of American modernism, and John Singleton Copley in England, based on her dissertation on the same subject, which revealed the entrepreneurial role the Boston colonial painter played on London’s 18th-century artistic stage. An exhibition particularly celebrated in Houston, American Made: 250 Years of American Art at the Museum of Fine Arts, Houston, presented in 2012, highlighted for the first time in the museum’s history the superb quality and dramatic expansion of its collection. Neff also authored Frederic Remington: The Hogg Brothers Collection at the Museum of Fine Arts, Houston, the first major catalogue to document this historically important collection and the Hogg family patron who created it. She has also served as a frequent lecturer and teacher, and served in 2010 as the H.E.R.E. Distinguished Lecturer at Rice University, Houston. Neff holds a BA in Art History from Yale University, an MA in Art History from Rice University, and a PhD from the University of Texas at Austin. She is a recent Fellow of the Center for Curatorial Leadership in New York City, and currently serves as President of the Association of Art Museum Curators.
PANEL: URBAN ECOLOGIES AND CULTURAL EXCHANGE “What kind of city we want cannot be divorced from the question of what kind of people we want to be, what kind of social relations we seek, what relations to nature we cherish, what style of life we desire, what aesthetic values we hold.” — David Harvey, Rebel Cities: From the Right to the City to the Urban Revolution There is currently a resurgence of urban life within the United States as Millennials and retirees alongside rooted and new immigrant communities increasingly seek out the social experiences, lifestyles, and public amenities offered by metropolitan areas. Writers in mainstream media, academic journals, and online are wrestling with how to meaningfully and equitably inhabit urban space. While many cities across the United States—from Miami to Denver to San
Francisco—are witnessing rampant private investment and construction booms, others, in the Rustbelt region for instance, have been disproportionately impacted by the recession and are seeing their populations shrink. This panel will consider museums’ responsibilities to the city of which they are part. Urban theorists, educators, and curators will address how museums are responding to gentrification and problems of access by different social groups through strategies for audience engagement both within and without the museum. Key questions this panel will consider include: How do museums shape cities and what kind of social relations do they foster? How do museums balance the demands of consumer culture and destination tourism with serving a broad, local constituency? Many curators work closely with educators in forming partnerships with schools, community groups, small non-profits, and local businesses to ensure that museums remain vital to diverse audiences, especially in an era of decreased K-12 art education for the next generation of museum users. The new Curator of Engagement position, whose responsibilities go far beyond care and interpretation of objects to include forging community collaborations, is a case in point. The continued relevancy of museums is arguably intertwined with the many grassroot voices invested in participatory and youth oriented co-creative works such as mural and public art programs, community gardens, tactical urbanism, and municipal budgeting, to name just a few recent trends. Where once museums might have been popularly perceived as offering sanctuary from the hustle and bustle of life, younger audiences now seem to want them to be an added value extension of their everyday social lives while tight-knit immigrant groups might have other needs. Curators have been profoundly impacted and galvanized by these changes as they seek to negotiate the museum’s identity within complex urban ecologies. 20
Moderator SANDRA Q. FIRMIN, Director and Chief Curator, Colorado University Art Museum
ANDREW HERSCHER, Associate Professor, Taubman College of Architecture and Urban Planning, University of Michigan
In April 2014, Sandra Q. Firmin assumed the post of Director and Chief Curator of the Colorado University Art Museum in Boulder. Prior, Firmin served as Curator of the University at Buffalo Art Galleries since 2003 where she organized several historically significant exhibitions, advocated for the regional arts community, and developed cross-disciplinary projects. In 2010, Firmin mounted Artpark: 1974–1984, an exhibition and publication (Princeton Architectural Press, 2010) chronicling the seminal years of an innovative residency program located in Lewiston, NY, just north of Niagara Falls. At the UB Art Galleries, Firmin established an annual residency program in which artists are presented with an empty gallery to transform over time while open to the public. Her exhibitions and publications have received major support from the Henry Luce Foundation, the Andy Warhol Foundation, the National Endowment for the Arts, and private individuals. Firmin holds an MA from Bard College’s Center for Curatorial Studies (2002), and was awarded a Philadelphia Exhibitions Initiative Fellowship at Arcadia University Art Gallery (2003).
Andrew Herscher is Associate Professor at the University of Michigan with appointments in the Taubman College of Architecture and Urban Planning, Department of Slavic Languages and Literatures, and Department of the History of Art. He is the author of Violence Taking Place: The Architecture of the Kosovo Conflict (Stanford University Press, 2010) and The Unreal Estate Guide to Detroit (University of Michigan Press, 2012).
Panelists CHRISTINA CHANG, Curator of Engagement, Minnesota Museum of American Art Chang received her BA in Political Economy with a minor in Art History from the University of California, Berkeley, in 2001. She completed her doctoral degree in Art History at the University of Michigan in 2010. From 2010 to 2012, she was Assistant Curator at the Weisman Art Museum at the University of Minnesota. She is currently Curator of Engagement at the Minnesota Museum of American Art, charged with embedding the museum into the cultural life of St. Paul and the Twin Cities through active dialogue with artists and organizations. MICHAEL CHAVEZ, Public Art Program Manager, City and County of Denver Michael Chavez manages the City of Denver’s 1% for public art ordinance, now in its 25th year. He also oversees Denver’s public art collection, which consists of more than 375 artworks. Chavez holds an MFA degree from the University of Kansas. Prior to his current position he has worked as a curator and exhibition designer in Colorado since 2004.
PATRICIA LANNES, Founder and Director, CALTA21–Queensborough Community College Patricia Lannes is the Founder and Director of CALTA21, a model initiative funded by an IMLS National Leadership Grant. She has worked in museum education and visual literacy for over 20 years and is the former Director of Education at the Nassau County Museum of Art, Roslyn, NY. CALTA21 is an initiative that aims to empower adult immigrant English language learners and their families by strengthening their voice, while building their academic, cultural and social capital. In keeping with her efforts on curating education experiences that transform museums into inclusive spaces for learning and civic empowerment, Lannes addresses issues of intercultural understanding, diversity, language, community, and institutional capacity, and partnerships in local, regional, and national conferences. She holds a degree in History from Universidad de la República, Uruguay, and is the Chair of the Latino Network – American Alliance of Museums.
PECHA KUCHA: SESSION 1 Presenters GINGER GREGG DUGGAN, Curator, c2—curatorsquared
Art Museum, University of Illinois, 20052008. Duggan and Fox have organized exhibitions for Boston Society of Architects; Design Museum Holon-Israel; Krannert Art Museum-University of Illinois; Tufts University Art Gallery, Medford, MA; Ulrich Art Museum-Wichita State University; Zilkha Gallery, Wesleyan University, Middletown, CT, with Pratt Manhattan confirmed for 2016. Many of these exhibitions travel nationally. TOBY LAWRENCE, Assistant Curator, Art Gallery of Greater Victoria Toby Lawrence is a curator and writer from Victoria, BC, Canada, who has been actively involved in creative endeavors throughout her life. She has held curatorial positions at Nanaimo Art Gallery, the Art Gallery of Greater Victoria, and the University of Victoria Art Collections, where she curated exhibitions such as Another Good Question (NAG, 2013), Rhythmically Repeated: Alistair Bell, New Acquisitions (NAG, 2013), Record, (Re)create: Contemporary Coast Salish Art from the Salish Weave Collection (AGGV, 2012), and Stage: Photographic Portraits (UVAC, 2010-2011). With a strong interest in audience engagement, she has also worked as an independent curator to produce Everyday, Imagined (Vic Fest, Victoria, 2013), The Pose Stands for Potentiality (IKB Learning Centre, UBC, Vancouver, 2012), No Windows (Satellite Gallery, Vancouver, 2010-2011), and Art Toronto 2011 special project, Collect Call. In 2013 she was a guest writer for Open Space (Victoria), exploring the work of Canadian artists with essays on Charles Campbell, Wendy Hough, and Sandra Meigs. She holds a BA in History of Art from the University of Victoria and an MA in Art History & Theory from the University of British Columbia, where her research focused on perceptions of the body in modern and contemporary art. Lawrence is currently the Assistant Curator at the Art Gallery of Greater Victoria.
Judith Fox and Ginger Duggan, curators and founding partners of curatorsquared (c2), develop exhibitions of contemporary art and design that explore current issues in culture. They established curatorsquared in 2008, having worked together during the 4 years prior to making their collaboration official. Ginger Duggan earned her advanced degree at the Savannah College of Art and Design, Georgia. She has been curator at the Museum of Contemporary Art, Lake Worth, Florida; Fort Lauderdale Museum of Art; and the Bellevue Art Museum, Washington, among other posts. Together Duggan and Fox were Visiting Curators at the Krannert 21
JOANNE S. NORTHRUP, Director of Contemporary Art Initiatives, Nevada Museum of Art JoAnne Northrup was appointed Director of Contemporary Art Initiatives at the Nevada Museum of Art in January 2012. In 2011 she was awarded a Fulbright Senior Research Scholarship and based her research at ZKM Center for Art + Media in Karlsruhe, Germany. As Chief Curator (2008-2011) and Senior Curator (2001-2008) at the San Jose Museum of Art, she curated and authored the first nationally touring survey exhibitions and monographs on contemporary media artists Jennifer Steinkamp (2006) and Leo Villareal (2010). Northrup earned her MA in Art History and Museum Studies from the University of Southern California, and her BA in Art History from the University of California, Santa Barbara. She has worked in various curatorial capacities at the de Saisset Museum at Santa Clara University, the Norton Simon Museum in Pasadena, and the Musée de Grenoble in France.
implementations. The panelists will also discuss the complexity of the curatorial field in museums and academia and how we can try to bridge that gap.
VALERIE J. MERCER, Curator and Department Head of the General Motors Center for African American Art, The Detroit Institute of Arts
Moderator KIMBERLI GANT, PhD Candidate and Independent Curator, University of Texas at Austin
Valerie J. Mercer is the first curator of African American art and Head of the General Motors Center for African American Art at the DIA since 2001. The DIA is the only encyclopedic art museum in the country with a curatorial department devoted to African-American art. In 2003, she organized the department’s inaugural exhibition Then and Now: A Selection of 19th- and 20th-century Art by African American Artists. As part of the DIA’s reinstallation project, she developed five permanent collection galleries for African American Art introduced to the public in 2007. Prior to joining the DIA, Mercer was Senior Curator at the Studio Museum in Harlem. While there, she organized numerous exhibitions, including the nationally toured Explorations in the City of Lights: African American Artists in Paris, 1945–1965 and The Studio Museum in Harlem: 25 Years of African American Art. Mercer has been an Adjunct Professor at the City College of New York and the Rhode Island School of Design. She received her undergraduate degree in Art History from New York University and completed her graduate degree in Art History from Harvard University.
Kimberli Gant is an Art History PhD candidate at the University of Texas at Austin, focusing on contemporary art of the African Diaspora. Gant has guest curated for the Warfield Center for African & African American Studies and was the 2012 Curatorial Fellow at The Contemporary Austin. She was previously the Curator of Exhibitions and Public Programs at the Museum of Contemporary African Diasporan Arts in New York. She has curated several exhibitions including De-Luxe: Collections Selections, There is No Looking Glass Here, and French Evolution: Race, Politics & the 2005 Riots. Ms. Gant is also a contributor to Art Lies and African Arts magazines and an essayist. Panelists CANDICE HOPKINS, Independent Curator and Co-Curator SITE Santa Fe
PANEL: THE CONVERSATION THAT WON’T QUIT: DIVERSIFYING THE CURATORIAL FIELD Between New York Times Art Critic Holland Cotter’s January 2014 commentary on the lack of global voices in New York museums and the newly established undergraduate museum diversity initiative organized by the Andrew W. Mellon Foundation, it is clear that the lack of color within the curatorial field is still a major issue in the 21st century. Yet, concrete data on this topic is often hard to find. And though many employers are instituting internships and fellowships as the answer, is it the only one? This panel therefore serves a dual purpose: to present quantitative research, conducted by the AAMC, on the demographics of the curatorial field nationally, and to facilitate a conversation about how museums can help diversify the field by generating interest in communities unfamiliar with museums or the curatorial profession through a series of simple recommendations and 22
Candice Hopkins is originally from Whitehorse, Yukon, and is a member of the Carcross/Tagish First Nation. An independent curator and writer, she is based in Albuquerque, New Mexico. She has held curatorial positions at the National Gallery of Canada, the Western Front, and the Walter Phillips Gallery, and received her MA from the Center for Curatorial Studies, Bard College. Her writings on history, art, and vernacular architecture have been published by MIT Press, BlackDog Publishing, New York University, the National Museum of the American Indian, among others, and she has lectured widely including at the Witte de With, Tate Modern, and the Dakar Biennale. In 2012 Hopkins was invited to present a keynote lecture on the “sovereign imagination” for dOCUMENTA (13). Her recent projects include Close Encounters: The Next 500 Years, a multi-site exhibition in Winnipeg co-curated with Lee-Ann Martin, Steve Loft, and Jenny Western, and Sakahàn: International Indigenous Art, co-curated with Greg Hill and Christine Lalonde, the National Gallery of Canada’s largest survey of contemporary Indigenous art. Hopkins is co-curator of Unsettled Landscapes, the first of SITE Santa Fe’s new series of biennial exhibitions, SITElines, focused on new art from the Americas opening July 2014.
JOAN WEINSTEIN, Deputy Director, Getty Foundation Joan Weinstein is Deputy Director of the Getty Foundation, which funds projects that strengthen art history as a global discipline, promote the interdisciplinary practice of conservation, increase access to museum and archival collections, and develop current and future leaders in the visual arts. She received her PhD in Art History from the University of California, Los Angeles, in 1986, taught at the University of Pittsburgh from 1986-1991, and is the author of several books and numerous articles on the history of modernist art in Weimar Germany. Since joining the Getty Foundation in 1994, she has worked on special grant initiatives in Central and Eastern Europe, Latin America, and Africa. Most recently, she was Co-Director of the Getty’s Pacific Standard Time: Art in L.A. 1945-1980.
PECHA KUCHA: SESSION 2 Presenters RACHEL ADAMS, Independent Curator, Rachel Adams Projects Rachel Adams is an independent curator and writer living in Austin, Texas. Her most recent projects include a group exhibition in New York titled Interstice and a solo exhibition including catalogue by artist Justin Cooper at testsite in Austin. Adams joined Arthouse at the Jones Center in June 2010 as the Curator of Public Programs. She developed the ongoing, successful Rooftop Architecture Film Series, among other programs. After the merger of Arthouse with the Austin Museum of Art, Adams was promoted to Associate Curator of Exhibitions and Public Programs. Since 2011, Adams curated 13 exhibitions and several video projects by international contemporary artists at AMOA-Arthouse (now The Contemporary Austin). In May 2013, she curated a two-person exhibition at Greene Exhibitions in Los Angeles. She graduated with an MA in Exhibition and Museum Studies from the San Francisco Art Institute in 2010 and a BFA from the School of the Art Institute of Chicago in 2006. Previously, she curated exhibitions at David Cunningham Projects and Queens Nails Projects in San Francisco. From 2006-2008, she was the Co-Director of Lloyd Dobler Gallery in Chicago. She is a graduate of the 2012 NAMAC Leadership Institute, was on the curatorial advisory board for the 2013 deCordova Biennial, and will serve as a juror for Austin’s Art in Public Places Seaholm Redevelopment commission. Upcoming projects include an outdoor commission by Seattlebased John Grade and a two-channel video commission by San Francisco-based Richard T. Walker at The Contemporary Austin. She is also a contributing writer for Artforum.com, Arts + Culture Texas, Modern Painters, and Texas Architect. GRAHAM C. BOETTCHER, The William Cary Hulsey Curator of American Art, Birmingham Museum of Art Graham C. Boettcher is the William Cary Hulsey Curator of American Art at the Birmingham Museum of Art in Alabama, where he has worked since 2006, and was Luce Foundation Curatorial Fellow of American Art until 2008. He was previously a curatorial fellow at the Yale University Art Gallery, and has held research fellowships at the Amon Carter Museum of American Art, and the Terra Foundation Summer Residency in Giverny, France. Boettcher recently 23
curated The Look of Love: Eye Miniatures from the Skier Collection (2012), for which he edited and contributed to a major publication of the same name. He is currently working on an exhibition exploring the Viking Revival in American art. Boettcher received his BA and PhD from Yale University, and an MA from the University of Washington in his home state. He has served as a trustee of the Association of Art Museum Curators since 2010. SARAH HALL, Director of Curatorial Affairs, Frick Art & Historical Center Sarah Hall joined the Frick Art & Historical Center in 1994 and held a variety of positions before being named Director of Curatorial Affairs in 2007. In this capacity she oversees the care, exhibition, and interpretation of the Frick’s permanent collection, ranging from historic structures, to cars, to fine and decorative arts, housed in three buildings on the museum’s more than five acres. In her nearly 20 years at the Frick Pittsburgh she has been involved in the staging of more than 65 exhibitions, with more than a dozen of these being Frick-organized, including the recent traveling exhibition Impressions of Interiors: Gilded Age Paintings by Walter Gay, for which she also contributed to and managed production of the catalogue. She has been an instrumental part of the Frick’s ventures into contemporary art programming, including this past summer’s exhibition Clayton Days Revisited: A Project by Vik Muniz, and she will be managing the Frick’s yet-to-be-announced contemporary artist collaboration planned for 2015. She can be found frequently in the galleries and online, writing about or discussing the Frick’s exhibitions and collections. Hall holds a BA in Communication from the State University of New York at Buffalo, with a concentration in writing, and attended graduate school at SUNY Buffalo studying film history, media and video production, and creative writing. SARAH ROBERTS, Andrew W. Mellon Foundation Associate Curator of Painting and Sculpture, San Francisco Museum of Modern Art Sarah Roberts serves as Andrew W. Mellon Foundation Associate Curator of Painting and Sculpture at SFMOMA, where she has directed research initiatives on the museum’s permanent collection since 2004. She was the primary author and project director for the museum’s Rauschenberg Research Project, the first scholarly collection publication produced by SFMOMA solely for the digital environment. Roberts supervised both the curatorial research and the technological 24
planning necessary to bring this new form of publishing to life on the SFMOMA website. On the occasion of the museum’s 75th anniversary in 2010, she co-organized The Anniversary Show, a yearlong major collection exhibition, and also contributed to and co-edited the accompanying catalogue San Francisco Museum of Modern Art: 75 Years of Looking Forward. Currently, she oversees the Doris and Donald Fisher Collection at SFMOMA, and is conducting research on the collection as well as planning for its presentation when the newly expanded museum re-opens in 2016.
PANEL: AMERICAN CURATORS AND EXCHANGE WITH ASIA IN THE 21ST CENTURY This panel will present new models and case studies of how American curators are collaborating with colleagues at overseas Asian institutions. Museum practices have evolved over the last decade as the economies in formerly underdeveloped countries have grown, promoting the creation of new museums with new staff. Asia offers particularly rich examples on this front, but transformations are happening all over the world. While this development has stimulated new collaborations, it has necessitated a realignment in partnership strategies. Some American curators have developed opportunities for sharing research and resources, objects, and joint curatorial projects. What do these experiences tell us about the need for the development of international standards to facilitate crosscultural exchanges? What does a successful exchange look like? What are the opportunities to further scholarship and learn from different work or cultural environments? After the formal presentations the discussion will be opened up to the floor for comments and questions. Moderator ADRIANA PROSER, John H. Foster Senior Curator of Traditional Asian Art, Asia Society Museum Adriana Proser is John H. Foster Senior Curator of Traditional Asian Art at Asia Society Museum, New York. A specialist in Chinese art, over the last fifteen years she has organized and co-organized over forty exhibitions for Asia Society, New York, as well as Asia Society Hong Kong Center, Asia
Asia Society Texas Center, Caramoor, Boston College’s McMullen Museum, and the Philadelphia Museum of Art, featuring diverse exhibition Pilgrimage and Buddhist Art. She has also coordinated and served as in-house curator for other international loan exhibitions including Gilded Splendor: Treasures of China’s Liao Empire and Princes and Painters in Mughal Delhi, 1707-1857 for Asia Society Museum, and is currently in-house curator for The Buddhist Art of Myanmar, scheduled for spring 2015. Panelists ANITA CHUNG, Curator of Chinese Art, The Cleveland Museum of Art Anita Chung is the Curator of Chinese Art at The Cleveland Museum of Art and is responsible for the planning of the Chinese galleries, exhibitions, and art acquisitions. She specializes in Chinese painting history, and much of her research concentrates on the 17th through the 20th century. While the museum was closed for the expansion and renovation project, Chung was involved with the planning for the Asian tour of the exhibition Impressionist and Modern Masters from the Cleveland Museum of Art through Beijing, Tokyo, and Seoul (2006-2007). She co-curated the exhibition Streams and Mountains without End: Asian Art and the Legacy of Sherman E. Lee at The Cleveland Museum of Art (2009) and organized the first retrospective exhibition of Fu Baoshi in the West, Chinese Art in an Age of Revolution: Fu Baoshi (1904-1965) (2010). Recently, she participated in the organization of a historic international exhibition, Masterpieces of Early Chinese Paintings and Calligraphy in American Collections, at the Shanghai Museum (2011). Chung began her museum profession in Edinburgh, Scotland, where she held the joint position of curator of Chinese art at the National Museums of Scotland and lecturer at the University of Edinburgh. There, she organized two exhibitions of Chinese art, including the acclaimed exhibition Chinese Paintings from the Shanghai Museum, 18511911 (2000) as well as Chinese Lacquer from the Royal Museum Collection (1998). She is the author of Drawing Boundaries: Architectural Images in Qing China (2004) and the co-author of various exhibition catalogues, including Masterpieces of Early Chinese Painting and Calligraphy in American Collections (2011), Chinese Art in an Age of Revolution: Fu Baoshi (1904-1965) (2010), and Chinese Paintings from the Shanghai Museum, 1851-1911 (2000). Her research interests also include Chinese lacquer, ceramics, and architecture. She holds a PhD from the University of Hong Kong.
MADHUVANTI GHOSE, Alsdorf Associate Curator of Indian, South Indian, Southeast Asian, Himalayan, and Islamic Art, Art Institute of Chicago Dr. Madhuvanti Ghose is the first Alsdorf Associate Curator of South Indian, Southeast Asian, Himalayan, and Islamic Art at the Art Institute of Chicago. Since joining the Art Institute in 2007, Ghose has launched the Alsdorf Galleries of Indian, Southeast Asian, Himalayan, and Islamic Art (2008) and curated the site-specific Public Notice 3 (2010–2011) by Jitish Kallat. In 2012, Ghose presented the first loan exhibition to the museum from the Government of India, The Last Harvest: The Art of Rabindranath Tagore. In 2013, she co-organized with the Department of Contemporary Art the exhibition Zarina: Paper Like Skin, a retrospective of artist Zarina Hashmi. Most recently she has co-curated, also with the Department of Contemporary Art, the exhibition Nilima Sheikh: Each Night Put Kashmir in Your Dreams (March–May 2014). Dr. Ghose leads the Vivekananda Memorial Program for Museum Excellence, a four-year project funded by a grant from the Government of India and designed to foster professional exchanges between the Art Institute and various museums in India. After completing her doctoral dissertation at the University of London, Ghose was a Research Fellow at the Department of Eastern Art, Ashmolean Museum, Oxford University. She was previously Lecturer in South Asian Art and Archaeology at the School of Oriental and African Studies (SOAS), University of London, UK. YASUFUMI NAKAMORI, Associate Curator of Photography, Museum of Fine Arts, Houston Dr. Yasufumi Nakamori is Associate Curator of Photography at the Museum of Fine Arts, Houston. He teaches the history of modern and contemporary Japanese Art and Architecture at Rice University. An expert on the interdisciplinary field of the photography, architecture and visual culture of 20th-century Japan, he was awarded the Alfred H. Barr Jr. award in 2011 from the College Art Association for his catalogue publication Katsura: Picturing Modernism in Japanese Architecture; Photographs by Ishimoto Yasuhiro (MFA Houston, 2010). Most recently, Dr. Nakamori has organized the symposium titled “Rethinking Art History: Making and Writing Modern and Contemporary Asian Art Histories,” a collaboration between MFA Houston and Rice University. Dr. Nakamori is currently organizing For a New World to Come: Experiments in Art and Photography, 1968-1979 Japan, scheduled to be on view at the Museum of Fine Arts, Houston, in the spring of 2015. 25
WORKSHOP: SOCIAL MEDIA FOR CURATORS 101: KNOW YOUR PLATFORMS This workshop will begin with an introduction to social media followed by a question and answer period. Participants will share information about types of social media, its uses in their roles, impact on their organizations, and relatable skills for curators. Moderator & Participant CHRISTINE KLOOSTRA, Executive Director, Marketing and Communications, Detroit Institute of Arts Christine Kloostra, Executive Director of Marketing and Communications at the Detroit Institute of Arts, has worked in arts marketing in the non-profit and for-profit sectors since 1997. She previously served as Assistant Director of Public Information at the Peabody Institute of Johns Hopkins University and Show Director of the Buyers Market of American Craft, an annual wholesale tradeshow for American and Canadian craft artists. At the DIA, she leads a department that has implemented paid and organic social media strategies that have increased Facebook fans from 58,000 in 2011 to over 290,000 today, more than any other museum in the United States outside of New York City.
new media field began her career in the music industry, where she discovered the power of social media in sharing the stories and music of little-known artists. Since then, she’s developed digital strategies for clients in the healthcare, retail, and public service sectors. She joined the Toledo Museum of Art staff in May 2013 and has overseen the design and launch of its visual literacy website, which supports the Museum’s strategic objective of teaching visual literacy, as well as expanded the Museum’s online audience by incorporating new platforms into its communication plan.
C O N N E R • RO S E N K R A N Z 19th & 20th Century American Sculpture
MICHAEL KULICK, Web and Digital Media Manager, Museum of Contemporary Art Detroit Michael Kulick is the Web and Digital Media Manager at MOCAD. A graduate of Michigan State University, Michael received his BA in Professional Writing with concentrations in community and digital/ technical writing. Michael specializes in nonprofit communications and has experience with environmental and energy policy work in addition to his work with museums. His current work at MOCAD involves social media management, content management, website design and development, marketing, and press inquiries.
Participants STEPHANIE ELTON, Social Media and Digital Communications Manager, Toledo Museum of Art Stephanie Elton, a Bluffton University graduate with a BA in communication, serves as the manager of social media and digital communications at the Toledo Museum of Art. The ten-year veteran of the digital and
Augustus Saint-Gaudens (1848-1907)
NOTES OF SUPPORT Kayne Griffin Corcoran Supports AAMC - Kayne Griffin Corcoran Resnicow Schroeder Associates, the nation’s leading firm exclusively dedicated to arts marketing, communications, and consulting, proudly supports the work of AAMC Curators. - Resnicow Schroeder
HEAD OF VICTORY, 1907, bronze on original marble base 8 x 7 1/8 x 6 1/2 inches; 4 3/4 x 4 x 4 inches (base) Signed: A · SAINT · GAUDENS · MCM Marked: Unmarked but likely cast by Gorham Foundry Inscribed: NIKH-EIPHNH [“Victory-Peace”] BY AUGUSTUS / SAINT GAUDENS / COPYRIGHT MCMVII
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Robert Gwathmey (1903-1988), The Gathering, c. 1959 Oil on canvas, 36 x 48 in., signed lower left: Gwathmey
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-------------------MICHAELROSENFELDART.COM 100 ELEVENTH AVENUE @ 19TH, NEW YORK, NY 10011 • 212.247.0082 Nancy Grossman (b.1940), Hitchcock (detail), 1965, mixed media assemblage on canvas mounted to plywood, 73 5/8 x 73 5/8 x 7 inches
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Mrs. Thomas Hancock (1714–1777), c. 1766
Thomas Hancock (1703–1764), 1766
(née lydia Henchman)
When Thomas Hancock—an uncle of John Hancock, the signer of the Declaration of independence—died in 1764, Copley was commissioned to enlarge his earlier portrait of the wealthy merchant into a commanding full-length memorial portrait for Harvard College. At the same time he executed this pair of pastels for the family. Provenance: Descended in the family of the sitter to John Hancock Tilton, Haverhill, Massachusetts Exhibited: Museum of Fine Arts, Boston, One Hundred Colonial Portraits (1930), no. 27, 30 (repro. in cat., p. 45–46); Museum of Fine Arts, Boston, John Singleton Copley (1738–1815) (1938) Recorded: Frank W. Bayley, The Life and Works of John Singleton Copley (Boston, 1915), p. 138–139; Theodore Bolton, Early American Portrait Draftsmen in Crayon (New York, F. F. Sherman, 1923), no. 25 (p. 19); Barbara Neville Parker and Anne Bolling Wheeler, John Singleton Copley: American Portraits (Boston: Museum of Fine Arts, 1938), p. 223 (pl. 127); Augustus Thorndike Perkins, A Sketch of the Life and Some of the Works of John Singleton Copley (Cambridge, Massachusetts: Harvard University Press, 1873), p. 69; Jules David Prown, John Singleton Copley in America 1738–1774 (Cambridge, Massachusetts: Harvard University Press for the National Gallery of Art, 1966), p. 217, as “pastel, 24" x 18 ½", 1766. Unlocated” (fig. 156, 157) Reference: Carrie Rebora and Paul Staiti et al., John Singleton Copley in America (New York: Metropolitan Museum of Art, 1995), p. 221
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(c) Jay DeFeo Untitled 1972 gelatin silver print 4 3/8 x 6 7/16 inches
The West Wind
Ursula von Rydingsvard
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The Association of Art Museum Curators (AAMC) hosts an annual conference, attracting over 400 curators from the US and Canada. It is the on...
Published on May 1, 2014
The Association of Art Museum Curators (AAMC) hosts an annual conference, attracting over 400 curators from the US and Canada. It is the on...