2020 Art Curators Conference Catalog

Code of Conduct

Art Curators Conference May 1, 4 and 5, 2020 #AAMCOnline

#AAMCOnline

Association of Art Museum Curators & AAMC Foundation

Contents

A Letter from our Board President and Executive Direc Conference Sponsors & Donors Advertiser Listing

Original Seattle Venues, Conference Benefit Committe Awards for Excellence Keynote Conversations Brief Schedule Detailed Schedule Panelist & Presenter Bios AAMC & AAMC Foundation Leadership Gratitude

The information in this document is subject to change without notice and should not be construed as a commitment by AAMC and/or AAMC Foundation. AAMC and/or AAMC Foundation assume no responsibility for any errors that may appear in this document. In no event shall AAMC and/or AAMC Foundation be liable for incidental or consequential damages arising from use of this document or other conference-related material. This document and parts thereof must not be reproduced or copied without AAMC and/or AAMC Foundation providing written permission, and contents thereof must not be imparted to a third party nor be used for any unauthorized purpose.

Design by Manuel Miranda Practice Conference produced by Luce Productions

Code of Conduct

ctor

ee & Team

#AAMCOnline

#AAMCOnline

Welcome to the 2021 Virtual Art Curators Conference.

With our offices in New York, where we are leading the virtual conference from, we would like to begin by acknowledging our presence on the ancestral and unceded territory of the Lenape and Canarsie peoples and we pay respect to their communities, past and present.

We would also like to acknowledge that all of our participants and attendees are each on Indigenous and Native lands, and encourage everyone to connect with and research the tribal groups in their area.  We give gratitude and respect to all Indigenous and Native people, their communities past and present, who share their art and culture with us.

All of our lives have changed over the past few months as we faced and continue to face unpredictable challenges imposed by an invisible threat. Our conference in Seattle and surrounding communities, all locations hard hit by COVID-19, has moved to a virtual platform. We are thankful to be able to bring to you the important conversations originally planned for our physical gathering including an inclusive hiring workshop; best practices forum; and panels on breaking boundaries, reconsidering concepts of borders, and advancing understanding of indigeneity and US Latinx art.

This year we have adopted a Code of Conduct based on the policy from the American Alliance of Museums, which was based on the Geek Feminism wiki and uses language with permission from the Nonprofit Technology Conference’s Code of Conduct. Even in an online space, we believe it is important to have the Code in place.

Our Art Curators Conference is just one element of an expansive programmatic calendar that last year served nearly 1,000 individuals through over 20 programs and fellowships. We hope you’ll recognize the opportunities we provide year-round and apply, attend, participate, and share in our offerings. As our art world landscape changes, we are committed to providing avenues for connection and resources to empower curators to be leaders in this uncertain time.

Our 2020 Conference program would not be possible without our lead sponsor Perkins Coie. We are also grateful for foundation support from the Art Fund, Samuel H. Kress Foundation, Henry Luce Foundation, and Trust for Mutual Understanding; we look forward to meeting these program fellows in person next year, and to welcoming them virtually to this program; and individual gifts from Susan Brotman, Mimi Gardner Gates, Chiyo Ishikawa, Janet W. Ketcham, Carla and Don Lewis, Kimerly Rorschach, Jon and Kimberly Shirley, and Sylvia Wolf; and for all our advertisers.

We greatly appreciate the work of our internal team, in particular Lucy Lydon, Conference Producer. And we thank our Conference Benefit Committee Chair, Chiyo Ishikawa, for spearheading our outreach and engagement with our host city. We also wish to express our gratitude to the full Conference Benefit Committee, co-chair and Board member, Beth Citron; and Leslie Anne Anderson, Lele Barnett, Lara Behnert, Greg Bell, Elisheba Johnson, Ed Marquand, Shamim M. Momin, Asia Tail, and Emily Zimmerman.

Thank you for joining us.

Judith Pineiro Executive Director, AAMC & AAMC Foundation

#AAMCOnline

Marianne Lamonaca President, Board of Trustees, AAMC & AAMC Foundation, 2019–2021 Associate Gallery Director and Chief Curator, Bard Graduate Center Gallery

A Letter from our Board President and Executive Director

A Letter from our Board President and Executive Director

Benefits of AAMC Membership Webinars Registration for live events and free archives

Professional Practices Guide Freely accessible vital resource

Regional Programming Invitations

Direct access to our exclusive member database, job listings, exhibitions available for travel, and more Funding Opportunities for mentorship program, international engagement, digital initiatives, conference travel, and more

Art Curators Conference

Are you a curator?

We are curators at non-profit visual arts organizations from around the globe. Our membership consists of curators working in four-wall museums, historic homes, non-four-wall and socially-based organizations, foundations, academia, independently and more. Dues is on a sliding scale based on salary.

Join today @ artcurators.org

1300+ Members Across 4 continents, 19 countries, 298 cities and towns, and 472 organizations Large metropolitan centers to regional areas

All fields and time periods

Inclusive of all career stages

2019 Programs Served 928 individuals in 216 different cities

Presented 9 webinars

Awarded 33 fellowships

Provided nearly $145,000 in funding

Association of Art Museum Curators & AAMC Foundation artcurators.org / aamc@artcurators.org @Art_Curators

Code of Conduct

Art Curators Conference Code of Conduct AAMC & AAMC Foundation are committed to an environment in which all individuals are treated with respect and dignity, in person or in a virtual setting. Each individual has the right to be in a professional atmosphere that prohibits discriminatory practices, including harassment. It is the policy of AAMC & AAMC Foundation to prohibit discrimination and harassment of any person in connection with any program or activity of the organization.

Discrimination is the unjust or prejudicial treatment of others based on human difference.

Harassment includes, but is not limited to: •

Comments or actions that minimize a person’s lived experiences, i identity, or safety

•

Deliberate misgendering or use of “dead” ii or rejected names iii

•

Deliberate “outing” of any person’s lived experiences or identity without their consent

•

Sustained disruption of talks or other events

•

Physical contact without consent or after a request to stop

•

Unwelcome sexual attention

•

Deliberate intimidation or stalking of any kind — in person or online

•

Collection or distribution of harassing photography or recordings

•

Threats or acts of violence

•

Advocating for, or encouraging, any of the above behavior

i “lived experiences” means the firsthand accounts and impressions of living as a member of a minority or oppressed group.

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ii “deadnaming” means to use someone’s old name. It specifically refers to the practice of deliberately referring to a trans person by their pre-transition name. Not only is it disrespectful, it can be considered an act of violence, especially when a person is not publicly out as trans. iii “rejected name” can also include persons who have changed their names for non-transition-related reasons such as relationships, political statements, etc. Malcolm X changed his name for very specific reasons related to his identity; it is disrespectful to refer to him as anything besides Malcolm X.

•

Feeling persecuted for your social privilege

•

“Reverse”-isms, including “reverse racism,” “reverse sexism,” and “cisphobia”

•

Reasonable communication of boundaries, such as “leave me alone,” “go away,” or “I’m not discussing this with you.”

•

Refusal to explain or debate social-justice issues when the person being asked is put in a defensive position based on their lived experience, personal identity, or safety

•

Communication in a “tone” you don’t find congenial

•

Discussion of sensitive topics

•

Criticizing racist, sexist, cissexist, or otherwise oppressive behavior or assumptions

Code of Conduct

Discrimination/Harassment is not:

This Code of Conduct applies to all AAMC & AAMC Foundation events, including our online Art Curators Conference.

If you or someone else is being discriminated against or harassed, please report it as soon as possible. You can make a report by emailing or calling our office directly or by making an anonymous report at https://www.artcurators. org/surveys/?id=2020_Harassment_Report_Form.

We can’t follow up on an anonymous report with you directly, but we will take your comments seriously. We appreciate you sharing your feedback; this will help us to ensure safety at all our events.

This Code of Conduct is in place to protect the safety of all attendees.

Attendees asked to stop any harassing or discriminatory behavior are expected to comply immediately. AAMC & AAMC Foundation staff may take action to redress anything disrupting the program or making the environment unsafe for participants. Anyone engaging in any of the behaviors outlined above may be subject to expulsion with no refund from meeting and related events, or future events.

This Code of Conduct is based on the policy from American Alliance of Museums, which was based on the Geek Feminism wiki and uses language with permission from the Nonprofit Technology Conference’s Code of Conduct. Please note that AAMC & AAMC Foundation are not responsible or liable for the level of service provided by third parties listed in the resources section above.

#AAMCOnline

Conference Sponsors & Donors

Conference Sponsors & Donors Thank you to the following for their support and enthusiasm for the 2020 Art Curators Conference.

Lead

Foundation

Individual CIRCLE

Susan Brotman Jon & Kimberly Shirley

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PARTNER

FRIEND

Mimi Gardner Gates Carla & Don Lewis

Chiyo Ishikawa Janet W. Ketcham Kimerly Rorschach Sylvia Wolf

Proud Supporter of Great Art

PERKINS COIE is proud to sponsor the Association of Art Museum Curators (AAMC) & AAMC Foundation’s 2020 Virtual Art Curator Conference. As a corporate collector of contemporary American and regional art for more than 40 years, we salute AAMC’s commitment to supporting and promoting the work of museum curators.

PerkinsCoie.com/Arts

Perkins Coie LLP Attorney Advertising

Advertiser Listing

Advertisers Appraisers Association of America, Inc. Art Dealers Association of America Artech Fine Art Services ArtTable Bard Graduate Center Betty Krulik Fine Art Limited Davidson Galleries Dietl International Foster/White Gallery Gallery IMA Getty Publications Gill & Lagodich Greg Kucera Gallery Harris Harvey Gallery Hirmer Publishers Linda Hodges Gallery Mariane Ibrahim Gallery Masterpiece International Pace Gallery Patricia Rovzar Gallery Perkins Coie LLP Portland Art Museum Skinner, Inc. Sotheby’s Sundaram Tagore Galleries

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TEFAF New York Traver Gallery

Asian Art Museum Bellevue Arts Museum The Boathouse Burke Museum of Natural History and Culture Christopher Paul Jordan Studio Davidson Galleries Foster/White Gallery Frye Art Museum Gallery IMA Ginny Ruffner Studio Greenstein Lab Greg Kucera Gallery Harris Harvey Gallery Henry Art Gallery Jacob Lawrence Gallery John Grade Studio Linda Hodges Gallery Museum of Glass Museum of Pop Culture

National Nordic Museum Northwest African American Museum Olympic Sculpture Park Patricia Rovzar Gallery Perkins Coie LLP RYAN! Feddersen Studio Seattle Art Museum The Seattle Public Library’s Central Library SOIL Gallery The Spheres SuttonBeresCuller Studio Tacoma Art Museum Traver Gallery University of Washington Campus Art Collection Wa Na Wari Wing Luke Museum of the Asian Pacific American Experience

Original Seattle Venues, Conference Benefit Committee & Team

Original Seattle Venues

Conference Committee Leslie Anne Anderson Lele Barnett Lara Behnert Greg Bell Beth Citron Chiyo Ishikawa

Elisheba Johnson Ed Marquand Shamim M. Momin Asia Tail Emily Zimmerman

AAMC & AAMC Foundation Team Lucy Lydon, Conference Producer Judith Pineiro, Executive Director Monica Valenzuela, Programs Manager

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Casey Collier, Programs Consultant Rasheeda Ford, Comptroller Glorimar Garcia, Administrator

ART DEALERS ASSOCIATION OF AMERICA

Photo by Scott Rudd Productions, 2019

The Art Dealers Association of America is a nonprofit membership organization that supports the economic and cultural contributions of the nation’s leading fine art galleries. The ADAA includes nearly 180 members from 30 cities in the U.S., representing hundreds of established and emerging artists internationally. In addition, for over a half century, the ADAA’s Appraisal Service has valued works of art for donation to museums and other cultural institutions.

ARTDEALERS.ORG

Congratulations to Chiyo Ishikawa for her 30 years of leadership and inspiration at SAM! With gratitude from the Seattle Art Museum Board of Trustees

Photo courtesy Scott Areman

Awards for Excellence

Awards for Excellence The Awards for Excellence, highly esteemed by art curators everywhere, is the only award of its kind by which curators directly honor the work of their colleagues. We are pleased to share the 2020 Award recipients.

Catalogue from an organization with an operating budget under $5 million Awardee

Kathleen Bickford Berzock

Associate Director of Curatorial Affairs, The Block Museum of Art, Northwestern University For Caravans of Gold, Fragments in Time: Art, Culture, and Exchange across Medieval Saharan Africa at The Block Museum, Northwestern University, published by The Block Museum and Princeton University Press

Catalogue from an organization with an operating budget of $5–$15 million Awardees

Tyler Cann

Head of Exhibitions and Pizzuti Family Curator of Contemporary Art, Columbus Museum of Art

Anastasia Kinigopoulo

Lois F. McNeil Fellow, Winterthur Museum, Garden & Library

Daniel Marcus

Roy Lichtenstein Curatorial Fellow, Columbus Museum of Art

Drew Sawyer

Phillip Leonian and Edith Rosenbaum Leonian Curator of Photography, Brooklyn Museum

Jonathan Weinberg #AAMCOnline

Curator, The Maurice Sendak Foundation; Critic, Yale School of Art; Lecturer, Rhode Island School of Design For Art after Stonewall, 1969–1989 at the Columbus Museum of Art, published by Rizzoli Electa

Awardee

Melissa Ho

Curator of Twentieth-Century Art, Smithsonian American Art Museum

Awards for Excellence

Catalogue from an organization with an operating budget of $15–$30 million

For Artists Respond: American Art and the Vietnam War, 1965–1975 at the Smithsonian American Art Museum, published by Smithsonian American Art Museum in association with Princeton University Press

Catalogue from an organization with an operating budget over $30 million Awardees (tie)

Carol S. Eliel

Senior Curator of Modern Art, Los Angeles County Museum of Art For Betye Saar: Call and Response at the Los Angeles County Museum of Art, published by LACMA and Delmonico Books-Prestel and

Elizabeth Hutton Turner

Co-Organizing Curator, University Professor of Art History, University of Virginia

Austen Barron Bailly

Co-Organizing Curator, Chief Curator, Crystal Bridges Museum of American Art

Lydia Gordon

Coordinating Curator, Associate Curator for Exhibition Research and Publishing, Peabody Essex Museum For Jacob Lawrence: The American Struggle at the Peabody Essex Museum, published by Peabody Essex Museum/University of Washington Press

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Awards for Excellence

Exhibition from an organization with an operating budget under $5 million Awardees

Andrea Gyorody

Ellen Johnson ’33 Assistant Curator of Modern and Contemporary Art, Allen Memorial Art Museum

Matthew Francis Rarey

Assistant Professor of the Arts of Africa and the Black Atlantic, Oberlin College For Afterlives of the Black Atlantic at the Allen Memorial Art Museum Exhibition from an organization with an operating budget of $5–$15 million Awardees

René Paul Barilleaux

Head of Curatorial Affairs, McNay Art Museum

Lauren Thompson

Assistant Curator, McNay Art Museum

Jackie Edwards

Assistant Curator, PhD Program in Art History, The Graduate Center, City University of New York

Bianca Alvarez

Public Art Project Manager, Department of Arts & Culture, City of San Antonio For Transamerica/n: Gender, Identity, Appearance Today at the McNay Art Museum Exhibition from an organization with an operating budget of $15–$30 million Awardees

Mark Godfrey

Senior Curator, International Art, Tate Modern, London

Zoé Whitley

Director, Chisenhale Gallery #AAMCOnline

Sarah Loyer

Associate Curator and Exhibitions Manager, The Broad For Soul of a Nation: Art in the Age of Black Power 1963–1983 at The Broad

Awardees

Karina Corrigan

H.A. Crosby Forbes Curator of Asian Export Art, Peabody Essex Museum

Awards for Excellence

Exhibition from an organization with an operating budget over $30 million

Lan Morgan

Assistant Curator for Exhibitions and Research, Peabody Essex Museum For the Sean M. Healey Family Gallery for Asian Export Art at the Peabody Essex Museum Article or Essay Awardee

heather ahtone

Senior Curator, First Americans Museum For The American Indian and Warhol’s Fantasy of an Indigenous Presence, published in Warhol and the West by the University of California Press Digital Publication Awardees

Sarah K. Oehler

Field-McCormick Chair and Curator of American Art, Art Institute of Chicago

John P. Murphy

Hoehn Curatorial Fellow for Prints, University of San Diego For Ivan Albright Paintings at the Art Institute of Chicago, Digital URL: artic.edu/digitalalbright published by the Art Institute of Chicago

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On View Through July 12, 2020

Eileen Gray

Eileen Gray has been organized by Centre Pompidou, Paris, in collaboration with Bard Graduate Center.

This exhibition is made possible in part by leadership support from Phillips.

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18 W 86 St. NYC bgc.bard.edu/gallery

Image: Eileen Gray. Transat chair, 1926-29.

Varnished sycamore, nickel-plated steel, synthetic leather. Centre Pompidou, MusÊe national d’art moderne, Paris, purchase, 1992, AM 1992-1-1.

Awards for Excellence

May 7 - June 27

Humaira Abid Sacred Games

HUMAIRA ABID, Tempting Eyes IX, 2019 Carved and stained pine wood, gouache painting, 4.5 x 9 x 4 inches

Also Peter Millett Sculpture

GREG KUCERA

GALLERY

GALLERY

212 THIRD AVENUE S SEATTLE, WA 98104 206.624.0770 www.gregkucera.com staff@gregkucera.com

212 THIRD AVENUE S

GEORGE RODRIGUEZ URBAN GUARDIANS APRIL 2020

FOSTER/WHITE GALLERY 220 THIRD AVE S. SEATTLE WA 98104 206.622.2833 FOSTERWHITE.COM

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MAY 2020 SARAH MCRAE MORTON

Keynote Conversations

Keynote Conversation Monday, May 4

Photo courtesy National Gallery of Art

Kaywin Feldman

Director, National Gallery of Art

Kaywin Feldman (b. 1966, Boston, MA, U.S.) has an MA in Art History from the Courtauld Institute of Art, University of London, an MA in Museum Studies from the Institute of Archaeology at the University of London, and a BA, summa cum laude, in Classical Archaeology from the University of Michigan. In March 2019, she became Director of the National Gallery of Art in Washington, DC. She is the fifth Director in the Gallery’s history, and the first woman to hold this important national position.

Prior to joining the Gallery, Kaywin led the Minneapolis Institute of Art as its Nivin and Duncan MacMillan Director and President. During that time, she doubled attendance, expanded the collection, launched and completed visionary strategic plans, and transformed the museum’s relationship to the Twin City community and to the nation through groundbreaking initiatives such as the Center for Empathy and the Visual Arts.

She is a Trustee of the National Trust for Historic Preservation, the White House Historical Association, and the Chipstone Foundation, and a member of the Steering Committee of the Bizot Group. She is a past President of the Association of Art Museum Directors (AAMD) and past Chair of the American Alliance of Museums (AAM). She has lectured widely and published numerous articles on many aspects of museums in the twenty-first century.

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Keynote Conversations

Photo courtesy NGC/MBAC

Sasha Suda

Director & CEO, National Gallery of Canada

Sasha Suda is the Director and CEO of the National Gallery of Canada.

The youngest person to assume this post in more than a century, Sasha was appointed in February 2019 and is passionate about revitalizing the Gallery’s relevance to audiences across Canada and beyond. Her ambitions for the Gallery reflect both the times in which we live and art’s importance to them: to bridge cultures, to engender diversity and perspective, and to unleash the power that civic institutions hold. To this end, Sasha has demonstrated immediate leadership by establishing three core institutional values that will help the workforce move in a bold new direction: the Gallery is centered on art; it offers a warm and generous welcome; and it embraces the unfamiliar and the future.

Born in Toronto to Czech parents, Sasha studied at Princeton University before completing her master’s degree in Art History at Williams College and her PhD at New York University. Her professional career began at The Metropolitan Museum of Art in New York, where she worked in various roles in the Medieval Department between 2003 and 2011. Following this, Sasha returned to her native Toronto to work at the Art Gallery of Ontario, first as an Assistant Curator, and eventually as Curator of European Art and the Elliott Chair of Prints & Drawings. In these roles, she led major international exhibition projects and spearheaded innovative digital initiatives that presented historical art to audiences in a new light.

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In addition to her work in major art institutions, Sasha sat on the Association of Art Museum Curators’ Committee for Career Advancement and represented Ontario at the Governor General’s Canadian Leadership Conference.

She lives in the Sandy Hill neighborhood of Ottawa with her two children, Frances and Felix, her husband, Albert, and their trusty dog, Phil.

Keynote Conversations

Keynote Conversation Tuesday, May 5

Photo courtesy Institute of Museums and Library Services

Vishakha Desai

President Emerita Asia Society and Senior Research Scholar in Global Studies, Columbia University

Dr. Vishakha N. Desai is Senior Advisor for Global Affairs to the President of Columbia University, Vice-Chair of the Committee on Global Thought, and Senior Research Scholar in Global Studies at its School of International and Public Affairs. From 1990 to 2012, Dr. Desai held a variety of positions at the Asia Society, initially as the Director of the Asia Society Museum and for the last eight years as President and CEO. Under her leadership as Museum Director, the Asia Society inaugurated a program of presenting contemporary Asian arts. As President, Dr. Desai developed new centers in India and South Korea, and opened two new architectural landmarks for the Society in both Hong Kong and Houston, Texas.

In 2012, in recognition of Dr. Desai’s leadership in the museum field, President Barack Obama appointed her to serve on the National Museum and Library Services Board. Her professional career spanning the last four decades includes positions at the Cleveland Museum, Brooklyn Museum, and the Museum of Fine Arts, Boston. Along with her scholarship of pre-modern art, she is well known for organizing groundbreaking exhibitions of Asian and Asian-American art in the U.S. Dr. Desai is a Trustee of the Doris Duke Charitable Foundation and Chair of the Board of Trustees for AFS Intercultural Programs. She serves as a member of the Board of Directors of Teach For All, as well as the newly established KREA University, slated to be one of India’s top private liberal arts universities. She also serves on the Corporate Board of Mahindra & Mahindra, one of India’s largest global corporations and has served as an Advisory Trustee to the Brookings Institution as well as Senior Advisor for Global Programs to the Solomon R. Guggenheim Foundation.

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Dr. Desai’s publications include Asian Art History in the Twenty-First Century (March 2008), Gods Guardians and Lovers: Temple Sculpture of North India (November 1993), and Life at Court: Art for India’s Rulers (June 1985). She also publishes regularly in leading American and Indian publications on cultural and current issues.

Recipient of five honorary degrees from American educational institutions, Dr. Desai holds a BA in Political Science from Bombay University and an MA and PhD in Asian Art History from the University of Michigan.

Keynote Conversations

Photo courtesy Ingrid Pape-Sheldon

Barbara Earl Thomas Writer and Visual Artist

Barbara Earl Thomas is a writer and visual artist with numerous national exhibits to her credit. Drawing on her personal history between the American South and the Pacific Northwest, Thomas incorporates themes of people and their rituals with the land, foregrounding the mythologized, metaphorical sense of place as operating between a geographical and spiritual location. Thomas builds tension-filled narratives through abstracted papercuts and prints, placing silhouetted figures within almost mythological landscapes. Thomas’s site-specific sculptural practice expands these forms into space; her public sculptures and large-scale installations incorporate light, space, and location into her dramatic landscapes and scenographies.

Thomas’s works are included in, among others, the Seattle Art Museum, Tacoma Art Museum, Portland Art Museum, Microsoft, Bill and Melinda Gates Foundation, in addition to Washington State and Seattle City public collections. She is the recipient of the City of Seattle Mayor’s Arts Award for Cultural Ambassador, the Governor’s Arts Award, the Artist Trust Irving and Yvonne Twining Humber Award, and The Stranger Genius Award for excellence in the arts. Thomas has lectured on arts and culture as well as serving as a social and cultural activist who was instrumental in the creation of the Northwest African American Museum, where she served as its executive director from 2008 to 2012. She received her BA and MFA from the University of Washington School of Art. She has upcoming major exhibits at the Seattle Art Museum in 2020 and the Henry Art Gallery in 2021. She is represented by Claire Oliver Gallery in New York.

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������������������������ The largest inventory of original contemporary, modern, and antique prints in the Northwest.

Charles Arnoldi, String Theory 2. Etching.

2016. Signed. 32 x 27 inches.

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313 Occidental Ave S, Seattle, WA 98104 • 206-624-7684 Open Tuesday–Saturday 11 am–5:30 pm

www.davidsongalleries.com ILANA ZWESCHI / MAY 2020

contemporary pacific northwest and west coast artists

May 5 - 30 / Kim Osgood, Under the Volcanoes

1915 First Ave, Seattle, WA 98101 Tues - Sat, 11:00 am - 6:00 pm harrisharveygallery.com

L I N DA H O D G E S G A L L E R Y

3 1 6 Fi r s t Ave S , S e a t t l e , WA 9 8 1 0 4 l i n d a h o d g e s g a l l e r y. c o m / 2 0 6 - 6 2 4 - 3 0 3 4

PATRICIA ROVZAR GALLERY

The largest inventory of original contemporary, modern, and antique prints in the Northwest.

Celebrating over 28 years as one of Seattle’s premier contemporary galleries, PRG represents a select group of artists who share our passion and integrity for art.

Charles Arnoldi, String Theory 2. Etching.

2016. Signed. 32 x 27 inches.

Terry Turrell, Silent Information, oil & enamel on panel, 30 x 51 in.

313 Occidental Ave S, Seattle, WA 98104 • 206-624-7684 Open Tuesday–Saturday 11 am–5:30 pm

1111 1st Avenue, Seattle, WA 98101 206-223-0273 mail@rovzargallery.com rovzargallery.com

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C H I H U LY

MERLETTO

Dale Chihuly, Italo Merletto Basket Set, 2019, 14 x 32 x 18 inches © Chihuly Studio

T R AV E R G A L L E RY

MAY 7–JUNE 27, 2020

TRAVERGALLERY.COM 206.587.6501 110 UNION STREET #200, SEATTLE, WA 98101

Brief Schedule

Brief Schedule Please refer to the detailed schedule in full for further information.

Friday, May 1 1:00–1:15 EST

Welcome Remarks

1:15–2:15 EST

Panel: Curating in a De

2:30–3:30 PM EST

Panel: Curating Indige

4:00–5:00 PM EST

Panel: Shifting Curato

Monday, May 4 12:00–1:15 PM EST

Keynote Conversation

1:30–2:30 PM EST

Collectors and Museu presented by Perkins C

2:45–3:45 PM EST

Panel: Latinx Art is Am

4:00– 5:00 PM EST

Panel: Local Voices: C

Tuesday, May 5

#AAMCOnline

12:00–2:00 PM EST

Inclusive Hiring Work

2:30–3:45 PM EST

Keynote Conversation

4:00–5:00 PM EST

Panel: Problematizing

Brief Schedule

ecentered World

eneity: Identity, Presence & Narratives

orial Practice Across Borders

n

ums: Legal Perspectives Coie LLP

merican Art

Collaboration at the University of Washington

kshop

n #AAMCOnline

g the "Global"

Detailed Schedule

Detailed Schedule Friday, May 1 All Conference registrants will receive an access code to join each webinar the day prior to the session.

1:00 –1:15 PM EST

Welcome Remarks

by Marianne Lamonaca, Chief Curator/Associate Director of the Gallery, Bard Graduate Center; President, Board of Trustees (2019–2021), AAMC & AAMC Foundation 1:15 – 2:15 PM EST

Curating in a Decentered World Due in large part to the work of decolonial scholars and activists, attention in the contemporary art world has changed focus from a shifting, dominant “center” of artistic production to a multiplicity of communities the world over. This panel brings together curators working outside of major urban centers, demonstrating what curatorial practices can look like without centering the city, or allowing any one site of cultural production to set the narrative. What can we learn about curating by examining the practices of curators working outside of traditional “centers”? Critical suburban, ex-urban and regional curatorial practices only become more urgent as gentrification prompts mass displacement, changing the very nature of cities and of the areas around them. Smaller regional galleries and museums are uniquely positioned to react to changing times and shifting audiences, and regional curators are increasingly adopting decolonial and activist practices to serve their publics.

MODERATOR/ORGANIZER

Emily McKibbon, Associate Director/Senior Curator, MacLaren Art Centre PANELISTS

Emelie Chhangur, Interim Director/Curator, Art Gallery of York University, Toronto Elisa Coish, Independent Curator; co-organizer Tania Willard, Assistant Professor, University of British Columbia: Okanagan/BUSH Gallery #AAMCOnline

Curating Indigeneity: Identity, Presence & Narratives This session is an open dialogue and response to curatorial practice surrounding Indigenous art with an emphasis on Indigeneity. Indigeneity is utilized to explain all things, cultural, land, knowledge, belief, and art as a way of purpose. Outside of the buzzwords (decolonizing, reframing, resisting, and reclaiming), we will discuss representation of cultural art authorities as academic writers, art museum curators, and art criticism.

In 2019, there are less than 2% of Indigenous museum professionals, with a handful of art curators in national museums. It is essential to keep the dialogue open, to welcome peers to provide them support for alternative narratives. We look to encourage cross-cultural interactions handing knowledge to non-Native professionals on effective measures to identify new interpretations, methodologies, and Indigenous knowledge through new measures of exposure to Native American field peers, and share their experiences and practicums as they utilize Indigenous protocol for curatorial practice.

Detailed Schedule

2:30 – 3:30 PM EST

MODERATOR/ORGANIZER

Tahnee Ahtoneharjo-Growingthunder, Curator & Tribal Liaison of Oklahoma History Center, State of Oklahoma, Oklahoma Historical Society PANELISTS

Mario A. Caro, Lecturer in the Art, Culture, and Technology Program, Massachusetts Institute of Technology Nancy Marie Mithlo, Professor of Gender Studies, Affiliated Faculty with the American Indian Studies Interdepartmental Program, University of California Los Angeles America Meredith (Cherokee Nation), Publishing Editor, First American Art Magazine Debra Yepa-Pappan, Native American Community Engagement Coordinator, Field Museum of Natural History 4:00 – 5:00 PM EST

Shifting Curatorial Practice Across Borders

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Curators and other arts professionals at American institutions grapple with the topics of inclusion and exclusion as they apply to our collections, exhibitions, and workforce. But what is "inclusion" in a transnational arts practice? How are these concerns voiced if one is already crossing borders, between countries and languages? Is inclusion inherently part of that practice? The session’s curators and arts practitioners, based in the U.S. and abroad, will speak about how they and their organizations address inclusion and exclusion, whether directly or indirectly. The conversation’s international scope will broaden what “inclusion” means for transnational artists with no particular “home” country; how organizers of vast exhibitions such as biennials and triennials approach this theme; and in turn, how do audiences respond to these efforts.

MARIANE IBRAHIM

AMOAKO BOAFO I STAND BY ME 10 SEPTEMBER TO 24 OCTOBER 2020

437 N Paulina Street Chicago, IL 60622

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Detailed Schedule

MODERATOR/ORGANIZER

Leslie Ureña, Associate Curator of Photographs, Smithsonian National Portrait Gallery CO-ORGANIZER

James Glisson, Curator of Contemporary Art, Santa Barbara Museum of Art PANELISTS

Bridget R. Cooks, Associate Professor in the Department of Art History and the Department of African American Studies, University of California, Irvine David Gutiérrez Castañeda, Research Professor, National School of Higher Education (ENES), Morelia Campus Universidad Nacional Autónoma de Mexico (UNAM), Mexico James Glisson, Curator of Contemporary Art, Santa Barbara Museum of Art Lesley Ma, Curator, Ink Art, M +, Hong Kong

Monday, May 4 12:00 –1:15 PM EST

Keynote Conversation with Kaywin Feldman, Director, National Gallery of Art, and Sasha Suda, Director and CEO, National Gallery of Canada, moderated by Judith Pineiro, Executive Director, AAMC & AAMC Foundation 1:30 –2:30 PM EST

Collectors and Museums: Legal Perspectives Presented by Perkins Coie LLP Led by Lynne E. Graybeal and Colleen Ganin of Perkins Coie LLP, this discussion will focus on the legal topics relating to private collectors and museums involved in loan negotiations, acquisitions, and gifts, as well as related copyright issues, including copyright ownership and indemnification.

With offices located worldwide, Perkins Coie represents a wide variety of arts-related organizations in many legal capacities. This session will provide a rare opportunity to learn and discuss these key topics with leaders in their field and will provide a unique perspective of representing collectors in their interaction with museums.

PANELISTS

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Lynne E. Graybeal, Partner, Intellectual Property Perkins Coie LLP Colleen Ganin, Associate, Intellectual Property, Perkins Coie LLP

Latinx Art is American Art This panel explores Latinx art as part of American art history and dispels mythologies around the (mis) understandings of Latin American and Latinx art. Nationally, curatorial positions dedicated to “Latin American Art” far outnumber those dedicated to U.S. Latinx art. Positions for “Latin American Art” are often funded by private collectors. U.S. Latinx art continues to be left out of collections and exhibitions of American art, misunderstood as production related to Latin American countries. This discussion explores how Latinx art should be incorporated into collections of U.S. art and how the work of Latinx artists parallels the work of their non-Latinx peers. Born in the U.S. or living here most of their lives, there are generations of U.S. Latinx artists who should be incorporated into the annals of American art history and public collections. With the demographic shift that is approaching over the next two decades, this discussion is more pertinent than ever.

Detailed Schedule

2:45 – 3:45 PM EST

MODERATOR/ORGANIZER

Rocío Aranda-Alvarado, Program Officer, Creativity and Free Expression, Ford Foundation PANELISTS

Erin Dziedzic, Director of Curatorial Affairs, Kemper Museum of Contemporary Art Rita Gonzalez, Head of Contemporary Art, Los Angeles County Museum of Art (LACMA) Marcela Guerrero, Assistant Curator, Whitney Museum of American Art Maria Gaspar, Artist 4:00 – 5:00 PM EST

Local Voices: Collaboration at the University of Washington With this panel, AAMC is introducing a new Conference element, Local Voices. Occurring at each Conference, the series will engage host city speakers to discuss how they are addressing a pressing topic in the field.

Our first Local Voices panel brings together directors and curators of the art and culture organizations at the University of Washington: Burke Museum of Natural History and Culture, Henry Art Gallery, Jacob Lawrence Gallery, and the Meany Center for the Performing Arts. Panelists will candidly share their efforts to move forward cross-campus collaborations, faculty and student engagement, and off-campus interest.

MODERATOR/ORGANIZER

Emily Zimmerman, Director & Curator, Jacob Lawrence Gallery PANELISTS

Michelle Witt, Executive and Artistic Director, Meany Center for the Performing Arts Sylvia Wolf, John S. Behnke Director, Henry Art Gallery

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Julie K. Stein, Executive Director, Burke Museum of Natural History and Culture

Detailed Schedule

Tuesday, May 5 12:00 PM EST

Introduction to Inclusive Hiring Workshop by Michelle Jacques, Chief Curator, Art Gallery of Greater Victoria; Board of Trustees, Vice President, Inclusion & Outreach, AAMC & AAMC Foundation 12:05 – 2:00 PM EST

Inclusive Hiring Workshop In October 2018, AAMC Foundation organized a workshop on inclusive hiring practices. In an effort to widen access to this critical discussion, we are hosting this workshop again as a major content part of our 2020 Conference. Together we will acknowledge the faults and biases in our current hiring practices and workplace cultures that foster continued non-diversification of the field and disenfranchised colleagues. This workshop will consider developing and disseminating available positions, interviewing execution, welcoming of new team members, and creating positive internal environments. We hope that through this learning session discussing terminology, methodology, and best practices that participants will become actively engaged within their organizations to advance conversations to enact change in traditional, established processes.

The first half of the session will be a lead presentation orienting our discussion, then we will enter into a brief moderated conversation, and conclude with a hands-on workshop and questions.

MODERATOR

Joy Bailey Bryant, Vice President, Managing Director U.S. Office, Lord Cultural Resources SPEAKERS

Cecile Shellman, Museum DEAI Consultant Tanya M. Odom, EdM, Global Diversity and Inclusion, and Education Consultant and Executive Coach Kimberly J. Wilson, Deputy Director for Human Resources, Volunteers, and Community Service, Virginia Museum of Fine Arts 2:30 – 3:45 PM EST

Keynote Conversation with Vishakha Desai, President Emerita Asia Society, and Senior Research Scholar in Global Studies, Columbia University, #AAMCOnline

and Barbara Earl Thomas, Visual Artist and Writer, moderated by Chiyo Ishikawa, Susan Brotman Deputy Director for Art and Curator of European Paintings and Sculpture, Seattle Art Museum; Conference Benefit Committee Co-Chair

Problematizing the "Global" The term “global” is bandied around by organizations, but how does one organization—with finite staff—truly grasp the entire world holistically and equitably when it is comprised of diverse cultures and communities and when the organization is typically tied to a particular context? “Global” seems to presume a certain inclusivity, but we forget its imperialist connotations, and in recent history it has been (and oftentimes currently is) associated with the non-term “Non-West.” With the slippage between “global” and “Non-West,” it continues to delineate colonial boundaries, further otherize and fetishize cultures and regions beyond our national borders, and privileges a certain positionality in which the American or “Western” museum is situated. This session will problematize the “global”; together, we’ll question the possibilities to explore, question, even interrogate the functions of a “global” institution and seek to think critically about the issues surrounding this term.

Detailed Schedule

4:00 – 5:00 PM EST

MODERATOR/ORGANIZER

Jessica Hong, Associate Curator of Global Contemporary Art, Hood Museum of Art, Dartmouth College PANELISTS

Orianna Cacchione, Curator of Global Contemporary Art, Smart Museum of Art Sonal Khullar, Associate Professor of Art History, University of Washington Sarah E.K. Smith, Assistant Professor in Communication & Media Studies, Carleton University

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Panelist & Presenter Bios

Panelist & Presenter Bios Tahnee M. Ahtoneharjo-Growingthunder, Curator & Tribal Liaison, State of Oklahoma, Oklahoma History Center, Art, History & Culture Initiatives Tahnee Growingthunder is an American art curator, and serves many roles in the arts as a professional and advisor. Well versed in tribal relations, Tahnee holds an ALM master’s degree and MBA from Harvard University, and a BFA from the Institute of American Indian Arts. Tahnee is the project leader and curator for the Curating Indigeneity Project, and her research cultivates dialogues for contemporary Native American art. Her work produces projects deeply rooted in relevant academic research that encourage conversations between both scholarly and non-scholarly audiences, and that present artistic practices as a communal experience rather than as inaccessible objects.

Rocío Aranda-Alvarado, Program Officer, Creativity and Free Expression, Ford Foundation Rocío Aranda-Alvarado is an art historian, curator, and Program Officer for the Ford Foundation, working on the Creativity and Free Expression team.

Her primary focus is on the visual production of people of color, with a special focus on Latinxs. She was the Curator at El Museo del Barrio where she organized numerous exhibitions from 2009 to 2017, including Antonio Lopez: Future Funk Fashion, !PRESENTE! The Young Lords in New York, and LA BIENAL, El Museo’s biennial for emerging artists. Prior to this, she was Curator at the Jersey City Museum. Rocío is also on the faculty in the art department at City College of New York. Her writing has appeared in various publications including catalogue essays for The Museum of Modern Art and El Museo del Barrio, ArtNexus, Review, Small Axe, BOMB, and American Art. Joy Bailey-Bryant, Vice President and Managing Director of U.S. Operations, Lord Cultural Resources

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Joy Bailey-Bryant is Vice President and Managing Director of U.S. Operations for Lord Cultural Resources. Joy has been an integral part of the development of some of the most important cultural spaces in the world today. A specialist in municipal engagement around culture and a certified interpretive planner, Joy led the teams for planning on the National Museum of African American History and Culture in Washington, DC, the National September 11 Memorial and Museum at the World Trade Center, and she directed citywide engagement in locations as large as Dallas and Chicago and small as Decatur, among many others.

Orianna Cacchione is Curator of Global Contemporary Art at the Smart Museum of Art, University of Chicago. Her curatorial practice is committed to expanding the canon of contemporary art to respond to the global circulations of art and ideas. At the Smart, she has curated the exhibitions Samson Young: Silver Moon or Golden Star, Which Will You Buy of Me?; Tang Chang: The Painting that Is Painted with Poetry Is Profoundly Beautiful; and The Allure of Matter: Material Art in China with Wu Hung. Previously, she was a Curatorial Fellow at the Art Institute of Chicago, where she curated Zhang Peili: Record. Repeat. Cacchione holds a PhD in Art History, Theory, and Criticism from the University of California, San Diego.

Panelist & Presenter Bios

Orianna Cacchione, Curator of Global Contemporary Art, Smart Museum of Art

Mario A. Caro, Lecturer in the Art, Culture, and Technology Program, Massachusetts Institute of Technology Mario A. Caro is a critic, historian, and curator of contemporary art. He has curated various national and international exhibitions featuring contemporary Indigenous artists. Dr. Caro completed his studies at the Amsterdam School for Cultural Analysis, University of Amsterdam. He was a fellow at NYU’s John W. Draper Interdisciplinary Program in Humanities and Social Thought, and is currently a lecturer in the Art, Culture, and Technology program at MIT. He has published widely on the history, theory, and criticism of contemporary art and is strongly committed to combining his interdisciplinary scholarship with community organizing.

Emelie Chhangur, Interim Director/Curator, Art Gallery of York University, Toronto Emelie Chhangur is an artist and award-winning curator and writer. She is known for her process-based, participatory curatorial practice, the commissioning of complex works across all media, and the creation of longterm collaborative projects performatively staged within and outside the gallery context. Distinguishing herself as a cultural worker dedicated to questioning the social and civic role of the contemporary art gallery, Chhangur has developed a curatorially-engaged approach to working across cultural, aesthetic, and social differences through a practice she calls “in-reach”—a concept that has since transformed engaged-institutional practice in the arts across Canada.

Elisa Coish, Independent Curator

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Elisa Coish is a Toronto-based curator who has held positions in both the public and private sector since 2004. Her practice focuses on contemporary art and regional programming, prioritizing artists and artworks that connect meaningfully to the location where the art is presented. Elisa is the outgoing Curator at the Latcham Art Centre in Stouffville, Ontario, and formerly the Senior Associate Curator for the Bank of Montreal’s Corporate Art Collection.

In the community, Elisa served two terms as a member of the Exhibition Program Committee at Gallery 44 and as the Artist Prize Curatorial Presenter for the Toronto Friends of the Visual Arts.

Panelist & Presenter Bios

Bridget R. Cooks, Associate Professor in the Department of Art History and the Department of African American Studies, University of California, Irvine Bridget R. Cooks is Associate Professor in the Department of Art History and the Department of African American Studies at the University of California, Irvine. Her research focuses on African American artists, Black visual culture, and museum criticism. Cooks has worked in museum education and has curated several exhibitions including, Grafton Tyler Brown: Exploring California (2018), Pasadena Museum of California Art; and Ernie Barnes: A Retrospective at the California African American Museum (2019) (CAAM). She authored Exhibiting Blackness: African Americans and the American Art Museum (2011), and is currently completing her next book, Norman Rockwell: The Civil Rights Paintings.

Erin Dziedzic, Director of Curatorial Affairs, Kemper Museum of Contemporary Art Erin Dziedzic is Director of Curatorial Affairs at the Kemper Museum of Contemporary Art, Kansas City, Missouri. She originated the commission Atrium Project and curated new presentations of works by Jose Lerma, Firelei Báez, Paul Henry Ramirez, and Angel Otero. Other recent curated exhibitions include Hew Locke: Here’s the Thing, Angela Dufresne: Making a Scene, Adam Cvijanovic: American Montage, Xaviera Simmons: Number 16, Siah Armajani: Bridge Builder, Rashid Johnson: Hail We Now Sing Joy, and Worlds Otherwise Hidden, with artists Nari Ward, Kimsooja, and Nevin Aladağ, and she was co-curator of Magnetic Fields: Expanding American Abstraction, 1960s to Today, and more at the Kemper Museum. She has also had written contributions in publications with the Savannah College of Art and Design, Kemper Museum, Island Press, Nka: Journal of Contemporary African Art, the Oklahoma Visual Arts Coalition, and she was guest editor for ARTPAPERS (May/June 2013).

Colleen Ganin, Associate, Intellectual Property, Perkins Coie LLP Colleen Ganin counsels clients in the art, fashion, and entertainment industries on a variety of intellectual property matters and transactions.

In particular, Colleen works with clients on artwork loan, commission, and acquisition agreements, as well as other licensing, sponsorship, and publicity arrangements. Colleen’s legal practice also includes copyright, trademark, and trade dress protection and enforcement—including copyright in artistic works and wearable designs.

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Maria Gaspar is an interdisciplinary artist whose work addresses issues of spatial justice in order to amplify, mobilize, or divert structures of power through individual and collective gestures. Gaspar’s projects have been supported by the Art for Justice Fund, Robert Rauschenberg Artist as Activist Fellowship, and Creative Capital Award, among others. Gaspar has lectured and exhibited extensively at venues including the Contemporary Arts Museum, Houston, TX; African American Museum, Philadelphia, PA; and Institute of Contemporary Art, Los Angeles. She is Assistant Professor at the School of the Art Institute of Chicago, holds an MFA in Studio Arts from the University of Illinois at Chicago, and a BFA from Pratt Institute in Brooklyn, NY.

Panelist & Presenter Bios

Maria Gaspar, Artist

Madhuvanti Ghose, Alsdorf Associate Curator of Indian, Southeast Asian, Himalayan & Islamic Art, Art Institute of Chicago; Board of Trustees, Vice President, Governance & Nominating, AAMC & AAMC Foundation Madhuvanti Ghose has curated many exhibitions at the Art Institute of Chicago including the site-specific Jitish Kallat: Public Notice 3 (2010 –2011), Gates of the Lord: The Tradition of Krishna Paintings (2015 –2016), and India Modern: The Paintings of M.F. Husain (2017–2018). She led the museum’s Vivekananda Memorial Program for Museum Excellence initiative with the government of India. Dr. Ghose was previously a Lecturer in South Asian Art and Archaeology at the School of Oriental and African Studies in London from where she received her doctoral degree after which she held a research fellowship at the Ashmolean Museum, Oxford.

James Glisson, Curator of Contemporary Art, Santa Barbara Museum of Art James Glisson, PhD, is the Curator of Contemporary Art at the Santa Barbara Museum of Art. His exhibitions on crowds, Frederick Hammersley, Walt Whitman, Edward Weston, and Marsden Hartley silverpoints have been featured in The Guardian, Los Angeles Times, The Atlantic’s CityLab, El País, Wallpaper, and Artforum. He has published in afterimage, artforum.com, Master Drawings, and Panorama. Two exhibitions opened in fall 2019. The first, Nineteen Nineteen, is co-curated with Jennifer A. Watts and will be the Huntington’s centennial exhibition. The second, True Grit: American Prints from 1900 to 1950, is at the Getty and co-curated with Stephanie Schrader. Another project is a multiauthor catalog, Becoming America (Yale University Press, 2020), that showcases the Jonathan and Karin Fielding Collection of American Folk Art at the Huntington.

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Panelist & Presenter Bios

Rita Gonzalez, Terri and Michael Smooke Curator and Department Head of Contemporary Art, Los Angeles County Museum of Art Rita Gonzalez is the Terri and Michael Smooke Curator and Department Head of Contemporary Art at the Los Angeles County Museum of Art where she has curated Phantom Sightings: Art after the Chicano Movement; Asco: Elite of the Obscure; Lost Line: Contemporary Art from the Collection; Agnés Varda in Californialand; and In Production: Art and the Studio System, among other exhibitions and programs. Gonzalez curated L.A. Exuberance: New Gifts by Artists, an exhibition that featured sixty gifts and marked the culmination of LACMA’s 50th anniversary year. From 1997 to 1999, she was the Lila Wallace Curatorial Fellow at the Museum of Contemporary Art, San Diego. She was on the curatorial team for Prospect 3 New Orleans and part of the curatorial teams for the first Current L.A. Biennial in 2016 and the Gwangju Bienale in 2018.

Lynne E. Graybeal, Partner, Intellectual Property, Perkins Coie LLP Lynne’s practice focuses on art collection management issues and transactions for individual, corporate, and institutional collectors. She works with collectors on artwork acquisitions, commissions, and consignment and sale transactions, including both private and auction sales. She has also worked on public-space art-related issues and transactions and assists clients with artwork loans and gifts to museums, universities, and other institutions. Lynne’s practice also includes trademark and copyright protection, registration, and enforcement; Internet and social-media issues; and intellectual property and entertainment-related transactions. Lynne is Perkins Coie’s art collection counsel and she serves on the Boards of the Henry Art Gallery, Pacific Northwest Ballet, and Seattle Shakespeare Company.

Marcela Guerrero, Assistant Curator, Whitney Museum of American Art Marcela Guerrero is assistant curator at the Whitney Museum of American Art where she curated the exhibition Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art in 2018. From 2014 to 2017, she worked as a curatorial fellow at the Hammer Museum. Prior to joining the Hammer, she worked in the Latin American and Latino art department at the Museum of Fine Arts, Houston. Guerrero’s writing has appeared in numerous catalogues and art journals. Born and raised in Puerto Rico, Guerrero holds a PhD in Art History from the University of Wisconsin, Madison.

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David Gutiérrez Castañeda received a degree in Sociology from the National University of Colombia (2006), a master’s degree in the History of Art from the National Autonomus University of México (2011), and his doctorate degree in the History of Art (2016) from UNAM, with an emphasis on the study of performance and gender, art and politics in Latin America, and contemporary museology. His doctoral research, Exercises of Care: About Skin of Memory, inquired about cultural and artistic performances as an ethical form of care. He currently is a full-time Associate Professor in the Art History program at the National School of Higher Studies, UNAM.

Panelist & Presenter Bios

David Gutiérrez Castañeda, Research Professor, National School of Higher Education (ENES), Morelia Campus, Universidad Nacional Autónoma de Mexico (UNAM), Mexico

Jessica S. Hong, Associate Curator of Contemporary Art, Hood Museum of Art, Dartmouth Before joining the Hood Museum of Art’s team as the first Curator of Global Contemporary Art in early January 2019, Hong was Assistant Curator at the Institute of Contemporary Art/Boston, where she organized exhibitions including Arthur Jafa: Love Is the Message, the Message Is Death (2018) and the ICA’s presentation of We Wanted a Revolution: Black Radical Women, 1965–85 (2018). Prior to the ICA, she was part of the inaugural team of the Division of Modern and Contemporary Art that launched the renovated Harvard Art Museums by architect Renzo Piano. Hong was previously based in New York and held curatorial positions at Independent Curators International, SculptureCenter, and the Whitney Museum of American Art. Chiyo Ishikawa, Susan Brotman Deputy Director for Art and Curator of European Paintings and Sculpture, Seattle Art Museum

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Chiyo Ishikawa has been the Susan Brotman Deputy Director of Art/Curator of European Paintings and Sculpture at the Seattle Art Museum (SAM) since 2005. Hired by SAM in 1990 as Assistant Curator of European Paintings and later promoted to full curator, she also served as Chief Curator of the Permanent Collection. She works with Director Amada Cruz and SAM curators to plan the artistic program. Earlier, Ishikawa was a lecturer at the University of Washington and the recipient of NEA internships, working at The Metropolitan Museum of Art in the department of paintings conservation and in the European paintings department at the Museum of Fine Arts, Boston. Her education includes a PhD from Bryn Mawr College.

Ishikawa has a long roster of exhibitions, publications, and honors, including the Chevalier de l’Ordre des Arts et des Lettres, awarded by the French Ministry of Culture.

Panelist & Presenter Bios

Michelle Jacques, Chief Curator, Art Gallery of Greater Victoria; Board of Trustees, Vice President, Inclusion & Outreach, AAMC & AAMC Foundation Michelle Jacques is currently the Chief Curator at the Art Gallery of Greater Victoria (AGGV), where she is responsible for guiding a curatorial and education program that links contemporary practices to the gallery’s historical collections and legacies. Since joining the AGGV three years ago, she has co-curated major retrospectives of the work of the Canadian artists Anna Banana, a mail and performance artist, and Jock Macdonald, a modernist painter, as well as a group exhibition of contemporary landscape photography entitled In Another Place, And Here (all 2015).

Sonal Khullar, Associate Professor of Art History, University of Washington Sonal Khullar is Associate Professor of Art History at the University of Washington. Her first book, Worldly Affiliations: Artistic Practice, National Identity, and Modernism in India, 1930–1990 (University of California Press, 2015), received the Bernard S. Cohn Book Prize of the Association of Asian Studies in 2017. She is completing a book manuscript, The Art of Dislocation: Conflict and Collaboration in Contemporary Art from South Asia, under advance contract with the University of California Press. Her research has been supported by the College Art Association, American Council of Learned Societies, American Institute of Indian Studies, Paul Mellon Centre for Studies in British Art, and the Japan Foundation.

Marianne Lamonaca, Chief Curator and Associate Director of the Gallery, Bard Graduate Center; President, Board of Trustees, AAMC & AAMC Foundation Marianne Lamonaca is Chief Curator and Associate Gallery Director at Bard Graduate Center, New York. She also served as Associate Director for Curatorial Affairs and Education at The Wolfsonian-Florida International University, Miami Beach, and Assistant Curator of Decorative Arts at the Brooklyn Museum. She has published on twentieth-century decorative arts and design, with a focus on Italy, and has taught courses in decorative arts, design history, and curatorial practice. She is a graduate of Parsons The New School for Design/Cooper-Hewitt Museum’s MA program in the History of Decorative Arts and of Sarah Lawrence College, and a fellow of the American Academy in Rome.

Soyoung Lee, Chief Curator, Harvard Art Museums; Board of Trustees, Vice President, Finance & Audit, AAMC & AAMC Foundation

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Soyoung Lee, Chief Curator at the Harvard Art Museums, oversees its robust exhibitions program and its collections of approximately 250,000 artworks. Prior to Harvard, Lee was the Curator for Korean art for 15 years at The Metropolitan Museum of Art, New York, where she organized a number of critically acclaimed international loan exhibitions including Poetry in Clay: Korean Buncheong Ceramics from the Leeum, Samsung Museum of Art (2011); Silla: Korea’s Golden Kingdom (2013); and most recently, Diamond Mountains: Travel and Nostalgia in Korean Art (2018), each with a publication.

She was a recipient of the Center for Curatorial Leadership fellowship in 2018.

Lesley Ma leads the museum’s collecting, exhibiting, and research of ink art and is on the core planning team of the opening exhibitions and publications.

She organized the critically acclaimed exhibitions The Weight of Lightness: Ink Art at M+ (2017) and Great Crescent: Art and Agitation in the 1960s — Japan, South Korea, and Taiwan (2013–2016, travelled to Para Site, Hong Kong; Mori Art Museum, Tokyo; MUAC, Mexico City). Previously a project director at Cai Guo-Qiang’s studio in New York (2005–2009), Ma received the 2015 Yishu Award for Critical Writing on Contemporary Chinese Art.

Panelist & Presenter Bios

Lesley Ma, Curator, Ink Art, M+, Hong Kong

Emily McKibbon, Associate Director/Senior Curator, MacLaren Art Centre Emily McKibbon is Associate Director and Senior Curator at the MacLaren Art Centre in Barrie, Ontario; her curatorial direction there employs “reading through place” to generate a balanced program of place-responsive exhibitions by contemporary Canadian artists. She has previously worked in curatorial, collections, and research capacities at the George Eastman Museum, Rochester, NY; the Getty Research Institute, Los Angeles; the Ryerson Image Centre, Toronto; and others. Her writing has received numerous recognitions, including an Honourable Mention for Best New Magazine Writer at the Canadian National Magazine Awards (2015).

America Meredith, Publishing Editor, First American Art Magazine America Meredith (Cherokee Nation) is the publishing editor of First American Art Magazine and is an art critic author, visual artist, and independent curator whose curatorial practice spans a quarter of a century.

She earned her MFA degree from the San Francisco Art Institute and taught Native art history at the Institute of American Indian Arts, Santa Fe Community College, and Cherokee Humanities Course. Northeastern State Universityname Meredith its 2018 Sequoyah Fellow. Based in Oklahoma, Meredith serves on the Cherokee Arts and Humanities Council Board and the Collections and Acquisitions Committee of the American Indian Cultural Center and Museum.

Nancy Marie Mithlo, Professor of Gender Studies, Affiliated Faculty with the American Indian Studies Interdepartmental Program, the University of California, Los Angeles

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Nancy Marie Mithlo (Chiricahua Apache) is a Professor of Gender Studies and affiliated faculty with the American Indian Studies Interdepartmental program at the University of California, Los Angeles. Mithlo’s curatorial work has resulted in nine exhibits at the Venice Biennale. A life-long educator, Mithlo has taught at the University of New Mexico, the Institute of American Indian Arts, the Santa Fe Community College, Smith College, California Institute for the Arts, Occidental College and the University of WisconsinMadison. Her forthcoming book, Knowing Native Arts, will be published by the University of Nebraska Press.

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Panelist & Presenter Bios

Mary-Kate O’Hare, Vice President, Advisor, Modern & Contemporary Art, Art Advisory & Finance, Citi Private Bank; Board of Trustees, Vice President, Fundraising, AAMC & AAMC Foundation Mary-Kate O’Hare specializes in U.S. and Latin American modern and contemporary art. In 2013, she joined Citi Private Bank’s Art Advisory & Finance as Vice President and Advisor, Modern & Contemporary Art. Prior to joining Citi, Mary-Kate was Curator of American Art at the Newark Museum for 13 years, where she organized many critically lauded exhibitions including Constructive Spirit: Abstract Art in South and North America, 1920s–50s (2010), At the Movies: Edward Hopper’s The Sheridan Theatre (2007), and co-curated Off the Pedestal: New Women in the Art of Homer, Sargent, and Chase (2006). The International Association of Art Critics honored her work for Constructive Spirit with a second place award for “Best Thematic Museum Show Nationally.” Mary-Kate earned a PhD in Art History from Rutgers University, writing her dissertation on issues of masculinity in the work of John Singer Sargent.

Tanya M. Odom, Global Diversity and Inclusion and Education Consultant and Executive Coach Tanya M. Odom, EdM, is a global consultant, writer, coach, and diversity, equity, and inclusion and civil rights thought leader. She has worked globally for over 20 years, in over 40 countries, as a consultant, coach, storyteller, and facilitator, focusing on areas including diversity and inclusion, inclusive leadership, race/racism, challenging conversations, mindfulness, coaching, well-being, innovation and creativity, educational equity, and youth empowerment/mentoring. Tanya’s unique portfolio career has allowed her to work in the education, private sector/corporate, not-for-profit/NGO, law enforcement, arts/culture, philanthropy, and university/college arenas. She is the co-author of Evaluation in the Field of Education for Democracy, Human Rights and Tolerance.

Judith Pineiro, Executive Director, AAMC & AAMC Foundation

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Judith Pineiro joined the Association of Art Museum Curators & AAMC Foundation as Executive Director in January 2014. Directly prior, she was an independent external affairs consultant. Additional senior level roles include Director, Affordable Art Fair U.S., Associate Development Director, Institutional Advancement, Museum of Arts and Design, and Account Manager, Museum Services, Christie’s. Pineiro began her career in galleries in New York and Los Angeles. Pineiro volunteers serving as VP, Communication, on the Executive Committee of the Board of Trustees at ArtTable, and Board Finance Committee member. She is a former Board member at New York Artists Equity Association; mentor in the Diversity in Arts Leadership program of the Arts & Business Council, Americans for the Arts; and juror for the National Arts Education Association and Brooklyn Arts Council. She has also had speaking engagements with AAM, AAAM, MCN, POWArts and Young Professionals in the Arts/NYFA.

E. Carmen Ramos is Deputy Chief Curator and Curator of Latino Art at the Smithsonian American Art Museum (SAAM). Since 2010, she has dramatically expanded the Museum’s pioneering permanent collection of Latino art with an eye toward capturing the broad aesthetic and regional range of the field. Her exhibition Our America: The Latino Presence in American Art (2013) is touring to eight venues and its catalogue received a 2014 co-first prize Award for Excellence by the Association of Art Museum Curators.

Before SAAM, Ramos was an Assistant Curator at the Newark Museum and an independent curator. Her 2017 exhibition, Down These Mean Streets: Community and Place in Urban Photography explored how Latino photographers working since the late 1950s represented the urban crisis as it unfolded in the neighborhoods where they lived and worked.

Panelist & Presenter Bios

E. Carmen Ramos, Deputy Chief Curator and Curator of Latino Art, Smithsonian American Art Museum; Board of Trustees, AAMC & AAMC Foundation

Peter J. Schertz, Jack & Mary Frable Curator of Ancient Art, Virginia Museum of Fine Arts; Board of Trustees, Vice President, Advocacy, AAMC & AAMC Foundation Dr. Peter Justin Moon Schertz has served as Curator of Ancient Art since October 2006 and the Jack and Mary Ann Frable Curator of Ancient Art since 2007 at the Virginia Museum of Fine Arts, where he developed and supervised the 2010/2011 reinstallation of the ancient Mediterranean collection. He received his PhD in Classical Art and Archaeology in 2004 from the University of Southern California and his BA in Classical Languages and Literature from the University of Chicago in 1987. His specialty is Roman art, with a focus on the intersection of art and culture, particularly art and religion. In his curatorial work, he has spearheaded a number of initiatives that explore how new technologies can help understand and interpret ancient art and how to use technology to engage new audiences with museum collections. His current projects include a study of the original polychromy of the Arch of Titus, the classical echoes of the National World War Two Memorial, and an examination of the Second Temple in Jerusalem in its Roman context.

Alexandra Schwartz, Curator and Adjunct Professor, SUNY Fashion Institute of Technology’s School of Graduate Studies

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Alexandra Schwartz is a New York–based curator and an Adjunct Professor in SUNY Fashion Institute of Technology’s School of Graduate Studies.

Her exhibitions include As in Nature: Helen Frankenthaler Paintings (Clark Art Institute, 2017) and After a Fashion: Dress, Desire, and Contemporary Art (Museum of Arts and Design, New York, 2020–2021). Previously, she was the founding Curator of Contemporary Art at the Montclair Art Museum and a Curator at the Museum of Modern Art. Her books include Ed Ruscha’s Los Angeles (2010) Modern Women: Women Artists at The Museum of Modern Art (2010), and Come As You Are: Art of the 1990s (2015).

Panelist & Presenter Bios

Cecile Shellman, Museum DEAI Consultant Cecile Shellman is a full-time consultant in diversity, equity, accessibility, and inclusion (DEAI) for museums. She recently worked for the Carnegie Museums of Pittsburgh on the Senior Staff (Institute Leadership Team), heading DEAI initiatives for the Carnegie Museum of Art, Carnegie Museum of Natural History, Carnegie Science Center, and the Andy Warhol Museum. She specializes in group diversity and inclusion training, leadership counseling, public speaking, and workshop facilitation. Other projects draw from Shellman’s vast experience in exhibition development, exhibition project management, museum education, and curation.

Cecile Shellman’s current and past clients include the Philadelphia Museum of Art, Utah Museums Association, The Frick Pittsburgh, Westmoreland Museum of American Art, John F. Kennedy Presidential Library and Museum, and the Greater Pittsburgh Arts Council. In 2019, she was named one of ten Senior Fellows for DEAI at the American Alliance of Museums.

Sarah E.K. Smith, Assistant Professor in Communication & Media Studies, Carleton University Sarah E.K. Smith is Assistant Professor in Communication & Media Studies at Carleton University in Ottawa, Canada. She is also a founding member of the North American Cultural Diplomacy Initiative (NACDI) and a fellow of the Canadian Global Affairs Institute. Sarah maintains an active independent curatorial practice and previously worked as Curator of Contemporary Art at the Agnes Etherington Art Centre. Her research explores contemporary art and cultural institutions, with recent publications including a monograph on the practice of conceptual art group General Idea and a special issue of the Journal of Curatorial Studies addressing cultural diplomacy.

Julie K. Stein, Executive Director, The Burke Museum of Natural History and Culture

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Julie K. Stein was appointed Executive Director of The Burke Museum of Natural History and Culture in 2005. A ten-year campaign resulted in a new facility opening in October 2019 that reveals Burke research and collections in a radically transparent and accessible way, and connects visitors to staff and volunteers who use them. This process is called “turning the museum inside out” and establishes the Burke as a new kind of museum. Previously, she served as the museum’s Curator of Archaeology. She also maintains a professor position in the Department of Anthropology at the University of Washington, and was Divisional Dean of Research, Computing, and Facilities for the College of Arts and Sciences. Stein received her MA and PhD from the University of Minnesota and her BA from Western Michigan University.

Her research interests are in geoarchaeology, especially studies involving Northwest Coast shell middens. She has excavated archaeological sites on Washington’s San Juan Islands since 1983, and continues to collaborate on research projects involving geoarchaeology.

A historian of photography, Leslie Ureña is Associate Curator of Photographs at the Smithsonian National Portrait Gallery. Her exhibitions and research focus on migration, transnational art practices, and photography as an agent of social change. Ureña worked in the curatorial departments of the National Gallery of Art (Washington), the Museum of Modern of Art (New York), and the Dallas Museum of Art, among others. In Taipei, Taiwan, she served as international manager for the gallery TKG+. Ureña has taught courses on the history of photography and modern art at the George Washington University (Washington); Taipei National University of the Arts; National Taiwan Normal University; and Museum of Modern Art (New York). Her writing has appeared in exhibition catalogues and on Artforum.com, caa.reviews, and ART iT. Ureña received a BA in the History of Art from Yale University and an MA and PhD in Art History from Northwestern University.

Panelist & Presenter Bios

Leslie Ureña, Associate Curator of Photographs, Smithsonian National Portrait Gallery

Tania Willard, Assistant Professor, University of British Columbia, Okanagan, BUSH Gallery Tania Willard, of Secwépemc and settler heritage, works within the shifting ideas around contemporary and traditional, often working with bodies of knowledge and skills that are conceptually linked to her interest in intersections between Aboriginal and other cultures. Willard’s ongoing collaborative project, BUSH Gallery, is a conceptual land-based gallery grounded in Indigenous knowledges and relational art practices. Willard’s current research constructs a land-rights aesthetic through intuitive archival acts and land-based practices. Willard is an Assistant Professor in Visual Arts on the faculty of Creative and Critical Studies at the University of British Columbia, Okanagan.

Kimberly J. Wilson, Chief Human Resource Officer and Deputy Director for Human Resources, Volunteers, and Community Service, Virginia Museum of Fine Arts

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Kimberly J. Wilson joined the Virginia Museum of Fine Arts (VMFA) in 2015 in the newly created position of Chief Human Resource Officer and Deputy Director for Human Resources, Volunteers, and Community Service. Her passion and successful record of accomplishment in creating innovative, highly engaged, diverse, and inclusive workforces have launched VMFA to the forefront, leading the pack in the recruitment and retention of senior and executive staff in the cultural arts sector. Wilson has an extensive HR portfolio including leadership and executive roles at prestigious institutions such as Howard University and Howard University Hospital, University of Richmond, and The George Washington University. Wilson holds a BA in Political Science from the University of Mary Washington.

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Panelist & Presenter Bios

Michelle Witt, Executive and Artistic Director, Meany Center for the Performing Arts Michelle Witt joined the University of Washington (UW) in August 2011.

As the Artistic Director of UW World Series and Executive Director of Meany Hall, she led a transition culminating in the two organizations unifying as the Meany Center for the Performing Arts in 2016. Witt has more than 20 years of arts leadership experience. She served as Executive Director of the nationally acclaimed San Francisco–based dance company Robert Moses’ Kin, where she advanced transformational artistic growth, and headed up the development of the most ambitious interdisciplinary productions and touring in the company’s history. Previously, she served in Associate and Executive Director positions with Stanford University Lively Arts (now Stanford Live), University of California, Santa Cruz Arts & Lectures, and the Performing Arts division of the Sun Valley Center for the Arts in Idaho, where she developed innovative artistic programming and educational residencies in music, dance, theater, and film.

Sylvia Wolf, John S. Behnke Director, Henry Art Gallery Sylvia Wolf is the John S. Behnke Director of the Henry Art Gallery.

Wolf arrived in 2008 from the Whitney Museum of American Art, where she served as Endowed Curator of Photography and Adjunct Curator.

Previously, she was Curator of Photography at The Art Institute of Chicago.

Wolf has organized over 50 exhibitions on the art of photography. She has taught undergraduate and graduate courses in studio art, art history, and museum studies at Columbia University, NYU, and the School of Visual Arts. She is affiliate faculty at University of Washington, and the author of over 12 books on contemporary art and photography.

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Debra Yepa-Pappan (Jemez Pueblo/Korean) is the Community Engagement Coordinator for the Native American Exhibition Hall renovation project at the Field Museum of Natural History in Chicago. She welcomes Native American visitors to the museum and engages them in dialogue about the exhibits in the hall and about the upcoming renovation. Most importantly, she helps to coordinate visits for Native people to connect with their cultural resources in the museum’s collections. As an active member of the Chicago Native American community, she serves as a liaison between the museum and the community, and with the Native community at large.

She is an artist with international acclaim in the field of contemporary Native American art, and through her artwork and her work at the Field Museum she is committed to changing inaccurate representations of Native people, and advocates for the inclusion of Native first voice and perspectives.

Panelist & Presenter Bios

Debra Yepa-Pappan, Community Engagement Coordinator for the Native American Exhibition Hall renovation project, Field Museum of Natural History

Emily Zimmerman, Director & Curator, Jacob Lawrence Gallery Emily Zimmerman is the Director of the Jacob Lawrence Gallery at the University of Washington’s School of Art + Art History + Design. Previously, she was Associate Curator of Programs at the Henry Art Gallery and Associate Curator at the Experimental Media and Performing Arts Center.

Her writing has appeared in BOMB and Contemporary Performance, and she has served on panels for the National Endowment for the Arts, New York State Council on the Arts, and Herb Alpert Awards. Emily received her MA from the Center for Curatorial Studies, Bard College, and her BA from New York University.

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AAMC & AAMC Foundation Leadership

2020 AAMC & AAMC Foundation Board of Trustees A sincere thank-you to our board leadership for their vision and dedication.

Executive Committee Madhuvanti Ghose

Michelle Jacques

Marianne Lamonaca

Soyoung Lee

Mary-Kate O’Hare

Peter Schertz

Alsdorf Associate Curator of Indian, Southeast Asian, Himalayan, and Islamic Art, Department of Asian Art, Art Institute of Chicago; Vice President, Governance & Nominating Associate Gallery Director and Chief Curator, Bard Graduate Center; President, Board of Trustees

Vice President, Advisor, Modern & Contemporary Art, Art Advisory & Finance, Citi Private Bank; Vice President, Fundraising

Chief Curator, Art Gallery of Greater Victoria; Vice President, Inclusion & Outreach

Chief Curator, Harvard Art Museums; Vice President, Finance & Audit

Jack and Mary Ann Frable Curator of Ancient Art, Virginia Museum of Fine Arts; Vice President, Advocacy

Trustees At Large Sharon Matt Atkins

Daniel Belasco

Tobi Bruce

Beth Citron

Jane Cohan

JosĂŠ Carlos Diaz

Catherine L. Futter

Madhuvanti Ghose

Benjamin M. Hickey

Michelle Jacques

Marianne Lamonaca

Soyoung Lee

Director of Exhibitions & Strategic Initiatives, Brooklyn Museum

Director, Exhibitions and Collections, and Senior Curator, Art Gallery of Hamilton

Partner, James Cohan

Senior Curator of Decorative Arts, Brooklyn Museum

Curator of Exhibitions, Paul and Lulu Hilliard University Art Museum

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Associate Gallery Director and Chief Curator, Bard Graduate Center; President, Board of Trustees

Executive Director, Al Held Foundation

Independent Curator

Chief Curator, The Andy Warhol Museum

Alsdorf Associate Curator of Indian, Southeast Asian, Himalayan, and Islamic Art, Department of Asian Art, Art Institute of Chicago; Vice President, Governance & Nominating Chief Curator, Art Gallery of Greater Victoria; Vice President, Inclusion & Outreach

Chief Curator, Harvard Art Museums; Vice President, Finance & Audit

C. Griffith Mann

Jen Mergel

Michel David-Weill Curator in Charge, Department of Medieval Art and The Cloisters, The Metropolitan Museum of Art

Independent Curator

Elizabeth Morrison

Mary-Kate O’Hare

Emily Kernan Rafferty

E. Carmen Ramos

Peter Schertz

Anne Collins Smith

Juliet Sorce

Ann Yonemura

Senior Curator of Manuscripts, J. Paul Getty Museum

President Emerita, The Metropolitan Museum of Art

Jack and Mary Ann Frable Curator of Ancient Art, Virginia Museum of Fine Arts; Vice President, Advocacy

Senior Vice President, Resnicow and Associates

Vice President, Advisor, Modern & Contemporary Art, Art Advisory & Finance, Citi Private Bank; Vice President, Fundraising

Deputy Chief Curator and Curator of Latino Art, Smithsonian American Art Museum

AAMC & AAMC Foundation Leadership

Trustees At Large cont.

Curator of Collections, Spelman College Museum of Art

Curator Emeritus, Freer Gallery of Art, Arthur M. Sackler Gallery, Smithsonian Institution

Emeriti Trustee Past Presidents Christa Clarke

Elizabeth W. Easton

Carol S. Eliel

Helen C. Evans

Emily Ballew Neff

John Ravenal

George T. M. Shackelford

Gary Tinterow

John B. Koegel

Judith Pineiro

Independent Curator and Affiliate, Hutchins Center for African & African American Research, Harvard University

Senior Curator of Modern Art, Los Angeles County Museum of Art

Executive Director, Memphis Brooks Museum of Art

Deputy Director, Kimbell Art Museum

Co-Founder and Director, Center for Curatorial Leadership

Mary and Michael Jaharis Curator of Byzantine Art, The Metropolitan Museum of Art

Executive Director, deCordova Sculpture Park and Museum

Director, The Museum of Fine Arts, Houston

Ex-Officio Executive Director, AAMC & AAMC Foundation

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PUBLISHERS

AAMC & AAMC Foundation Leadership

2019–2020 AAMC & AAMC Foundation Committees We are grateful to our committees for their volunteer service to our work.

Awards For Excellence Chair Kristen Collins

Curator of Manuscripts, J. Paul Getty Museum (2018 – 2020)

José Carlos Diaz

Chief Curator, The Andy Warhol Museum, Board of Trustees (2020 – 2022)

Conference Benefit Committee Leslie Anne Anderson

Lele Barnett

Lara Behnert

Greg Bell

Beth Citron

Chiyo Ishikawa

Elisheba Johnson

Ed Marquand

Shamim Momin

Asia Tail

Director of Collections, Exhibitions, and Programs, National Nordic Museum

Sr. Creative Manager, Starbucks

Independent Curator; Board of Trustees; Co-Chair

Co-Founder, Wa Na Wari

Senior Curator, Henry Art Gallery, University of Washington

Art Advisor & Curator, Lele Barnett Art Advisory, LLC.

Chief Curator, Vulcan Inc.

Susan Brotman Deputy Director for Art and Curator of European Painting and Sculpture, Seattle Art Museum; Co-Chair

Partner, Creative Director, Lucia | Marquand

Independent Artist and Curator, yəhaẃ/Freelance

Emily Zimmerman

Director & Curator, Jacob Lawrence Gallery, University of Washington

Finance & Audit Committee Madhuvanti Ghose

Michelle Jacques

Marianne Lamonaca

Soyoung Lee

Mary-Kate O’Hare

Peter Schertz

Alsdorf Associate Curator of Indian, Southeast Asian, Himalayan, and Islamic Art, Department of Asian Art, Art Institute of Chicago; Vice President, Governance & Nominating

Associate Gallery Director and Chief Curator, Bard Graduate Center; President, Board of Trustees

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Vice President, Advisor, Modern & Contemporary Art, Art Advisory & Finance, Citi Private Bank; Vice President, Fundraising

Chief Curator, Art Gallery of Greater Victoria; Vice President, Inclusion & Outreach

Chief Curator, Harvard Art Museums; Vice President, Finance & Audit

Jack and Mary Ann Frable Curator of Ancient Art, Virginia Museum of Fine Arts; Vice President, Advocacy

Claire Breukel

Karen DeTemple

Mariane Ibrahim-Lenhardt

Emily Lenz

Monica Obniski

Mary-Kate O’Hare

Executive Director + Curator, YES Contemporary

Founder, Mariane Ibrahim

Demmer Curator of 20th- and 21st-Century Design, Milwaukee Art Museum

Co-Founder, The Art of Change

Director and Partner, D. Wigmore Fine Art, Inc.

Vice President, Advisor, Modern & Contemporary Art, Art Advisory & Finance, Citi Private Bank; Board of Trustees, Vice President, Fundraising, Chair

Ann Yonemura

Curator Emeritus, Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution; Board of Trustees

AAMC & AAMC Foundation Leadership

Fundraising Committee

Governance & Nominating Committee Christa Clarke

Helen C. Evans

Madhuvanti Ghose

Benjamin M. Hickey

Jen Mergel

Elizabeth Morrison

Independent Curator and Affiliate, Hutchins Center for African & African American Research, Harvard University; Past President, Trustee Emerita

Alsdorf Associate Curator of Indian, Southeast Asian, Himalayan, and Islamic Art, Department of Asian Art, Art Institute of Chicago; Board of Trustees, Vice President, Governance & Nominating

Independent Curator; Board of Trustees

Mary and Michael Jaharis Curator of Byzantine Art, The Metropolitan Museum of Art; Past President, Trustee Emerita

Curator of Exhibitions, Paul and Lulu Hilliard University Art Museum; Board of Trustees

Senior Curator of Manuscripts, J. Paul Getty Museum; Board of Trustees

Anne Collins Smith

Curator of Collections, Spelman College Museum of Art; Board of Trustees

Membership Committee Sharon Matt Atkins

Nina Bozicnik

Caroline Campbell

Nicholas Chambers

Karina Corrigan

Dejay Duckett

Allison Glenn

Gean Moreno

Theresa Papanikolas

Eve Schillo

Laurence Schmidlin

Laura Vigo

Director of Exhibitions & Strategic Initiatives, Brooklyn Museum; Board of Trustees, Co-Chair

Curator of Italian Paintings before 1500 and Loans Curator, National Gallery of Art, UK

H.A. Crosby Forbes Curator of Asian Export Art, Peabody Essex Museum

Associate Curator, Contemporary Art, Crystal Bridges Museum of American Art

Ann M. Barwick Curator of American Art, Seattle Art Museum; Co-Chair

Julie Walsh

Founder and Director, Walsh Projects

Senior Curator of International Art & Terra International Fellow, Art Gallery of New South Wales

Director of Curatorial Services, The African American Museum in Philadelphia

Curator of Programs, Institute of Contemporary Art, Miami

Assistant Curator, Wallis Annenberg Photography Department, LACMA

Curator of Asian Art, Montreal Museum of Fine Arts

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Curator, MusĂŠe cantonal des Beaux-Arts

Associate Curator, Henry Art Gallery

Gratitude

Gratitude We share our deepest gratitude to our most dedicated supporters, bolstering our work and reach every day through their generosity. All listings below recognize gifts from March 1, 2019–March 1, 2020.

Foundation & Government The Andrew W. Mellon Foundation Art Fund David L. Klein Foundation Emily Hall Tremaine Foundation The Getty Foundation Helen Frankenthaler Foundation Henry Luce Foundation

The Iris Foundation Leon Levy Foundation The National Endowment for the Arts Samuel H. Kress Foundation Terra Foundation for American Art Trust for Mutual Understanding

Corporate CORPORATE SPONSORS

CORPORATE PATRONS

Art Dealers Association of America Perkins Coie LLP Sotheby’s

Blum & Poe Christie’s Marianne Boesky Gallery

Individual Donors PATRONS (SUB-HEADER)

BENEFACTOR CIRCLE ($2,500 ANNUALLY)

Barbara Futter Catherine Futter

Joy Bailey-Bryant Graham C. Boettcher James & Jane Cohan Lisa Dennison Vishakha Desai Kaywin Feldman Mimi Gardner Gates Bill Gautreaux Madhuvanti Ghose Richard Green Barnett & Shirley Helzberg Jr. Emily Lenz Don & Carla Lewis John Ravenal Elizabeth Smith Sasha Suda Barbara Earl Thomas Ann Yonemura

PRESIDENT’S CIRCLE ($5,000 ANNUALLY)

Susan Brotman Jon & Kimberly Shirley

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Gifts to our annual fund advance the organization’s capacity to ensure we secure our mission’s values and vision’s goals.

John P. Lukavic

Dita Amory

Susan B. Matheson

Leslie Anne Anderson

Maria McCarthy

Carmen Bambach

Cara McCarty

Rene P. Barilleaux

Jen Mergel

Emily Ann Beeny

Joan R. Mertens

Jason Busch

Christina Nielsen

Beth Citron

Jennifer K. Olivarez

Sarah D. Coffin

Marina Pacini

Karen DeTemple

Theresa Papanikolas

Lucy Dew

Julie Pierotti

Diana Fane

Jennifer Casler Price

Linda S. Ferber

Carolyn M. Putney

Anne Collins Goodyear

Emily K. Rafferty

Jared Goss

Tracy Rector

Alison de Lima Greene

Ricardo J. Reyes III

Gloria Groom

Juan Rafael Coronel Rivera

Sarah J. Hall

Mark Scala

Caroline Hannah

Jean Sharf

Lynda R. Hartigan

Josephine Shea

Cody Hartley

Marianna S. Simpson

Mr. & Mrs. Michael J. Horvitz

Elizabeth A.T. Smith

Lisa Hostetler

Martha Tedeschi

Frederick Ilchman

Suzanne Tick

Sarah B. Kianovsky

Gary Tinterow

Emily-Jane Kirwin

Georgiana Uhlyarik

Betty Krulik

Ian Wardropper

Alice and Nahum Lainer

Karol Wight

Marianne Lamonaca

Elizabeth Williams

Martin P. Levy

Kimberly Wilson

Mary-Kay Lombino

Ann Yonemura

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Lynne D. Ambrosini

Gratitude

Annual Fund

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Edited by Lisa Phillips, Johanna Burton, and Alicia Ritson, with Kate Wiener

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“At a time when there is renewed interest in the role of the museum, the critic, and the artistic activist, Tucker’s writing offers a much needed push to radical change.”

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Out of Bounds The Collected Writings of Marcia Tucker

2/26/20 10:13 AM

Gratitude

Sustaining Members ($750 level of membership) In acknowledgment of their generosity and leadership, Sustaining Members receive exclusive access beyond that of general membership. Gifts at this level provide critical support to the organization.

Lynne Ambrosini Dita Amory Leslie Anne Anderson Nathalie Bondil Emily Braun Christa Clarke Carol S. Eliel Helen C. Evans Catherine L. Futter Cody Hartley Eik S. Kahng Norman Kleeblatt Wolfram Koeppe Marianne Lamonaca Soyoung Lee Jen Mergel Annemarie Sawkins George T. M. Shackelford Julie Walsh John Wilson Ann Yonemura

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By being an institutional member the organizations below are highlighting their commitment to the curatorial profession and their desire to see it flourish.

Gratitude

Institutional Members (annual gift)

Addison Gallery of American Art Albright-Knox Art Gallery Amon Carter Museum of American Art The Andy Warhol Museum Arkansas Art Center Art Gallery of Greater Victoria Art Institute of Chicago Baltimore Museum of Art The Barnes Foundation Bechtler Museum of Modern Art Bemis Center for Contemporary Arts Birmingham Museum of Art Blanton Museum of Art Brooklyn Museum Canadian Centre for Architecture The Charles Hosmer Morse Museum of American Art Cincinnati Art Museum Cleveland Museum of Art Colby College Museum of Art Corning Museum of Glass Currier Museum of Art David Owsley Museum of Art Delaware Art Museum Denver Art Museum The Fralin Museum of Art at the University of Virginia The Frances Young Tang Teaching Museum and Art Gallery The Frick Collection Frist Art Museum Galleria Nazionale dell’Umbria Hammer Museum at UCLA Harvard Art Museums

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Georgia O’Keeffe Museum

Gratitude

Institutional Members cont.

Herbert F. Johnson Museum of Art Hillwood Estate, Museum & Gardens Honolulu Museum of Art Hood Museum of Art Institute of Contemporary Art, Miami J. Paul Getty Museum Jane Voorhees Zimmerli Art Museum The Jewish Museum Kimbell Art Museum Los Angeles County Museum of Art Mead Art Museum, Amherst College Memphis Brooks Museum of Art The Menil Collection The Metropolitan Museum of Art Mildred Lane Kemper Art Museum Mississippi Museum of Art MIT List Visual Arts Center Montreal Museum of Fine Arts Museum of Art, Rhode Island School of Design Museum of Contemporary Arts, Jacksonville Museum of Fine Arts, Boston 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 New Orleans Museum of Art The Newark Museum of Art Norman Rockwell Museum

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North Carolina Museum of Art Norton Museum of Art Oakland Museum of California Ontario Association of Art Galleries

Palm Springs Art Museum

Gratitude

Institutional Members cont.

Palmer Museum of Art The Parrish Art Museum El Paso Museum of Art Peabody Essex Museum Philadelphia Museum of Art Picker Art Gallery, Colgate University Pomona College Museum of Art Portland Art Museum Princeton University Art Museum Ruth and Elmer Wellin Museum of Art at Hamilton College Saint Louis Art Museum San Antonio Museum of Art San Diego Museum of Art San Francisco Museum of Modern Art Seattle Art Museum Skirball Cultural Center Smithsonian American Art Museum Solomon R. Guggenheim Museum Sterling and Francine Clark Art Institute The Studio Museum in Harlem Telfair Museums UB Art Galleries UC Berkeley Art Museum and Pacific Film Archive University of Iowa Stanley Museum of Art Virginia Museum of Fine Arts Wadsworth Atheneum Museum of Art Wexner Center for the Arts Whitney Museum of American Art Wichita Art Museum Winterthur Museum, Garden, and Library Yale University Art Gallery

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Yale Center for British Art

Association of Art Museum Curators & AAMC Foundation