Page 59

At the Nasher Sculpture Center, Catherine Craft and Leigh Arnold serve in the roles of Curator and Assistant Curator, respectively. In the past year, Craft curated the comprehensive exhibition The Nature of Arp. Arnold oversaw the installations of Nasher Prize winners Theaster Gates and Isa Genzken. She is also the driving force behind the annual Nasher Prize Graduate Symposium. Curator of the Crow Museum, Jacqueline Chao, is broadening perceptions of Asian art. The museum’s mission, she explains, is to introduce visitors to work dating from antiquity to the present and spanning the Asian diaspora. Chao is also working to equalize a gender imbalance. She says, “We are proud to be currently featuring dynamic and innovative artworks by Japanese women in Hands and Earth: Contemporary Japanese Ceramics. Women have traditionally played only a minor role in Japan’s long history with clay.” The exhibition includes the work of trailblazing women, Koike Shoko and Futamura Yoshimi, as well as pieces by Hashimoto Machiko and Shingu Sayaka, emerging female ceramists whose natureinspired creations are becoming internationally recognized. Amanda Dotseth, the recently appointed curator at the Meadows Museum, is keen to broaden the museum’s scope of Iberian artists to include work by and for women as well as art by Spanish Jews and Muslims. She also has a keen interest in reexamining the art historical omissions of women, saying, “In my particular area of expertise, medieval art, wherein the names (and therefore gender) of makers are usually unknown, I make a point in my teaching and writing to acknowledge that ‘anonymous’ was often a woman. We shouldn’t assume a maker was a man simply because we don’t know.”

In Fort Worth, at the Kimbell Art Museum, Jennifer Casler Price, who has been with the museum for 20 years, recently had a title change to Curator of Asian, African, and Ancient American Art. She joins Kimbell veteran Nancy Edwards, Curator of European Art and head of academic services, as part of the curatorial team. While the museum recently added Anne Vallayer-Coster’s Still Life with Mackerel to its collection, its programming vision remains rooted in its mission. “From its inception, the Kimbell has acquired works of art of exceptional quality to build a small but superlative collection—exercising connoisseurship broadly and deeply and looking beyond a narrow canon to recognize excellence,” Edwards explains. At the Amon Carter Museum of Art, Kristen Gaylord was recently named Assistant Curator of Photographs. She joins Maggie Adler and Shirley Reece-Hughes as part of the female force of curators. Gaylord’s scholarship has focused on several female artists. Andrea Karnes, Senior Curator of the Modern Art Museum of Fort Worth, keeps museum goers apprised of contemporary art trends. She works alongside Associate Curator Alison Hurst, whose current FOCUS exhibition features the work of Analia Saban. The Los Angeles–based artist pushes the limit of traditional artistic media through a combination of scientific experimentation and craftsmanship. Under the leadership of these women, the art historical discourse of this century is being written. Through their efforts it will be a greater tome, made richer through its story of diversity and inclusivity. P

From left: Curator Catherine Craft and Assistant Curator Leigh Arnold at Richard Serra: Prints at Nasher Sculpture Center; Kristen Gaylord, Courtesy of Amon Carter Museum of American Art; Dallas Contemporary’s new senior curator Laurie Ann Farrell in front of a wallpaper work by Trenton Doyle Hancock, photograph by Chia Chong; Nancy Edwards, Curator of European Art, Kimbell Art Museum, photograph by Robert LaPrelle; Dr. Amanda W. Dotseth, Curator, Meadows Museum, SMU, photograph by Tamytha Cameron.

MAY-JULY 2019

57

Profile for Patron Magazine

PATRON's 2019 BEST OF THE ARTS Issue