2021 Art Curators Conference Catalog

Code of Conduct

Art Curators Conference April 29–30 & May 3–4, 2021 #AAMCOnline

#AAMCOnline

Association of Art Museum Curators & AAMC Foundation

Contents

A Letter from Our Board President & Executive Directo Conference Supporters & Contributors Awards for Excellence Keynote Dialogues Conference 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

or

#AAMCOnline

AAMC & AAMC Foundation has offices in Manhattan, and its staff are working remotely in Brooklyn, both in NYC, locations situated upon the unceded seized territory of the Lenape and Canarsie peoples and benefited from the economies of slavery and the labors of African-descended captives. We owe our existence and vitality to generations from around the world who were brought here against their will, drawn here to escape persecution, and some who have lived on this land for more generations than can be counted. We pay respect to their communities, past and present. This acknowledgement asks us each to consider the many legacies of violence, displacement, migration, and settlement that bring us together for the Art Curators Conference.

The systemic violence and racism targeted at Black, Indigenous, and People of Color are harsh reminders of the inequities that persist in our society, particularly by the very institutions meant to protect them. AAMC condemns all violence, bias, aggression, and discrimination based on race, ethnicity, sexual orientation, socioeconomic status, gender, and religion.

It is important to listen and learn together, and to also take action to make change a reality.

We are dedicated to an environment in which all individuals are treated with respect and dignity at our programs. Each individual has the right to be in a professional atmosphere that prohibits discriminatory practices, including harassment. A full code of conduct policy for the Art Curators Conference is available on the left-hand side of this web page, where you will also find the outlets to make a direct or anonymous report of a violation. #AAMCOnline

Thank you for making space to attend the Conference.

A Letter from Our Board President and Executive Director

A Letter from Our Board President and Executive Director Welcome to the 2021 Art Curators Conference.

During the past fifteen months, AAMC & AAMC Foundation have been an unwavering beacon of support, learning, and advocacy for our members, curator nonmembers, and the wider arts sector; and we are hopeful for the future of museums and arts organizations. As the foremost organization serving curators, we take our responsibilities of listening, serving, and bolstering the curatorial field as sacrosanct. We are committed to our mission to advance the field by innovating traditional curatorial practices and leading the profession to be inclusive and vibrant.

As the arts community takes ownership of its role in the racism, injustices, bias, inequity, and elitism in the visual arts, we ask that curators pledge to make the workplace environment one in which all individuals are treated equally, respectfully, professionally, and free of harassment and racism by signing our Code of Conduct. And, that they also commit to Diversity, Equity, Access and Inclusion (DEAI) priorities in collections and exhibitions through our Call to Curators: DEAI Practices: Collections & Exhibitions.

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AAMC and AAMC Foundation are honored to be a catalyst that brings together curators from around the globe. Our Art Curators Conference is the only one of its kind dedicated solely to visual art curators, and your attendance highlights your conviction to professional development, for yourself and for the field. During the Art Curators Conference, we hope you will embrace new methodologies and practices discussed, and openly collaborate with colleagues.

The Conference would not be possible without the participation of our speakers, panelists, and moderators.

We applaud their willingness to share their time and their professional experiences with us. We are grateful for the support of our Conference Fellowships by the Art Fund, Henry Luce Foundation, Museum Detox, Samuel H. Kress Foundation, and Trust for Mutual Understanding.

A Letter from our Board President and Executive Director

The Conference should empower and inspire you to work transparently, equitably, inclusively, and fairly.

In addition, we are deeply appreciative of our Conference Benefactor Sponsor, Sotheby’s, Conference Patron Supporter, Lucidea, and to the Conference advertisers, especially our Featured Advertisers: Bard Graduate Center, Gill & Lagodich Fine Period & Replica Frames, Masterpiece International, Menconi + Schoelkopf Fine Art, PHI Foundation for Contemporary Art, Montreal, and TEFAF.

Judith Pineiro Executive Director, AAMC & AAMC Foundation #AAMCOnline

Marianne Lamonaca Director of the Humanities Edge, Florida International University President, Board of Trustees, AAMC & AAMC Foundation

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 namesiii

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

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Sustained disruption of talks or other events

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Physical contact without consent or after a request to stop

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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 “dead naming” means to use someone’s old name. It specifically refers to the practice of deliberately referring to a trans person by their pretransition 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

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

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

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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

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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/default.asp?id=2021_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 meetings 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.

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Conference Supporters & Contributors

Conference Supporters & Contributors Thank you to the following for their support and enthusiasm for the 2021 Art Curators Conference.

Sponsors BENEFACTOR

Supporters PATRON

FOUNDATION

INDIVIDUAL

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Lamonaca Family

Kim Rorschach

Sotheby’s is pleased to support the 2021 AAMC Conference & Meeting COMMITTED TO THE SUCCESS OF THE NATION’S GREAT MUSEUMS, we assist museums of all sizes and collecting categories with deaccessions, private sales, buying at auction, valuations, cultivation events, and catalogue subscriptions.

Discover what we can do for your institution.

1334 YORK AVENUE, NEW YORK, NY 10021 ENQUIRIES +1 212 894 1138 MOLLY.NELSON@SOTHEBYS.COM SOTHEBYS.COM/MUSEUMSERVICES © 2021 ARTISTS RIGHTS SOCIETY (ARS), NEW YORK / VG BILD-KUNST, BONN SOTHEBY’S, INC. LICENSE NO. 1216058. © SOTHEBY’S, INC. 2021

DOWNLOAD SOTHEBY’S APP FOLLOW US @SOTHEBYS

Conference Supporters and Contributors

Featured Advertisers Bard Graduate Center Gill & Lagodich Fine Period & Replica Frames Lucidea Masterpiece International/Magnate Worldwide Menconi + Schoelkopf PHI Foundation for Contemporary Art, Montreal Sotheby’s TEFAF

Advertisers Appraisers Association of America Betty Krulik Fine Art, Ltd. David Hall Gallery, LLC Getty Publications Hirmer Publishers IAIA Museum of Contemporary Native American Art The Museum Box Questroyal Fine Art, LLC

Welcomes & Addresses

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Julia Tatiana Bailey, Curator of Modern and Contemporary Art, National Gallery Prague Dr. Johnnetta Betsch Cole, Director Emerita, Smithsonian National Museum of African Art; President Emerita, Spelman College and Bennett College; Special Counsel on Strategic Initiatives at the Baltimore Museum of Art Rachael Browning, Head of Programme Development, Art Fund Lonnie G. Bunch III, Secretary, Smithsonian Institution Gonzalo Casals, Commissioner, New York City Department of Cultural Affairs Dr. Jane Chu, Chairperson Emerita, National Endowment for the Arts Vedet Coleman-Robinson, Executive Director, Association of African American Museums

Conference Supporters and Contributors

Max Hollein, Marina Kellen French Director, The Metropolitan Museum of Art Chih-l Lai, Assistant Curator, National Palace Museum, Taibao City, Taiwan Laura Lott, President and CEO, American Alliance of Museums Monica O. Montgomery, Curator of Social Justice, Programs & Special Projects, Arts and Industries Building, Smithsonian Institution Stephanie Sparling Williams, Associate Curator, Mount Holyoke College Art Museum, Visiting Lecturer in Art History and Africana Studies, Mount Holyoke College Belinda Tate, Executive Director, Kalamazoo Institute of Arts Darren Walker, President, Ford Foundation Stephanie Wiles, The Henry J. Heinz II Director, Yale University Art Gallery John Zeppetelli, Director and Chief Curator, Musée d’art Contemporain de Montréal

Conference Benefit Committee Mary Hannah Byers, Senior Director, Sotheby’s Advisory Beth Citron, Artistic Director, Terrain.art, and Independent Curator; Co-Chair, Board of Trustees, AAMC & AAMC Foundation Luis Croquer, Independent Curator Chiyo Ishikawa, Former Susan Brotman Deputy Director for Art and Curator of European Painting and Sculpture, Seattle Art Museum; Co-Chair Mary-Kay Lombino, Deputy Director and the Emily Hargroves Fisher ’57 and Richard B. Fisher Curator, Frances Lehman Loeb Art Center, Vassar College; Co-Chair Amy G. Poster, Consulting Curator, Asian Art, Museum of Fine Arts, Houston, and Curator Emerita, Brooklyn Museum

Art Curators Conference Team

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Casey Collier, Marketing Consultant, CASE Consulting Rasheeda Ford, Comptroller, YourPartTimeController Glorimar Garcia, Administrator, AAMC & AAMC Foundation Lucy Lydon, Conference Producer, Luce Productions Judith Pineiro, Executive Director, AAMC & AAMC Foundation Monica Valenzuela, Programs Manager, AAMC & AAMC Foundation

Enthusiastically adopted by museums of all sizes, collection types, and budgets

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 their colleagues.

In recognition of the impact of the pandemic, this year’s cycle pays tribute to groundbreaking digital curatorial achievements. While we toast our 2021 Awardees, we also want to acknowledge and share gratitude to curators everywhere that pivoted to digital in order to continue sharing exhibitions, collections, and scholarship with communities around the world.

We celebrate the flexibility, responsiveness, and dedication of the Awardees in producing the honored works created from January to December 2020. We are pleased to share the 2021 Awards recipients.

Digital Publication Raid the Icebox Now; Rhode Island School of Design, Museum Lead Curators at the Rhode Island School of Design, Museum Sarah Ganz Blythe Deputy Director, Exhibitions, Education, and Programs Dominic Molon Richard Brown Baker Curator of Contemporary Art Additional Team Leads at the Rhode Island School of Design, Museum Brendan Campbell Graphic Designer Carson Evans Digital Content Fellow Carolyn Gennar Content Producer Erik Gould Museum Photographer Jan Howard Houghton P. Metcalf Jr. Curator of Prints, Drawings, and Photographs Amy Pickworth Assistant Director of Museum Publications and Senior Editor Jeremy Radtke Assistant Director, Digital Initiatives Derek Schusterbauer Senior Graphic Designer Elizabeth Williams David and Peggy Rockefeller Curator of Decorative Arts and Design Online Exhibition FEAR TOUCH POLICE; Swiss Institute Lead Curator

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Sable Elyse Smith Curator and Artist

Art and Activism in Our Time of Crisis; Crow Museum of Asian Art Lead Curators Jacqueline Chao Senior Curator of Asian Art, Crow Museum of Asian Art Vivian Li Lupe Murchison Curator of Contemporary Art, Dallas Museum of Art

Awards for Excellence

Online Programming: Single Episode

Online Programming – Series Across Multiple Organizations Living in Common in the Precarious South(s); a partnership between Engine for Art Democracy and Justice, Vanderbilt University Art Department, Fisk University, and Frist Art Museum Lead Curators Maria Magdalena Campos-Pons Founder and Cornelius Vanderbilt Endowed Chair Professor of Fine Arts, Engine for Art Democracy and Justice, Vanderbilt University Art Department Marina Fokidis Curator and Writer; 2020 Online Program Curator, Engine for Art Democracy and Justice, Vanderbilt University Art Department Mark Scala Chief Curator, Frist Art Museum Jamaal Sheats Director and Curator, Fisk University Galleries Online Resource Development Tied Awarded Projects Latinx Collections Portal; National Museum of African American History and Culture Lead Curator Ariana Curtis Curator of Latinx Studies, National Museum of African American History and Culture Additional Team Leads at the National Museum of African American History and Culture Emily Houf Collection Information Specialist Douglas Remley Rights & Reproductions Specialist And Louis H. Draper Archive Portal; Virginia Museum of Fine Arts Lead Curator Sarah Eckhardt Associate Curator of Modern & Contemporary Art, Virginia Museum of Fine Arts Additional Team Leads at the Virginia Museum of Fine Arts

Courtney Tkacz Archivist

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Sandra Sellars Assistant Photographer

Menconi + Schoelkopf is a leader in the field of American art, focusing on the finest works of this country’s artists, created from 1875 to today. The mission of the gallery is to expand the field of American art through research, scholarship and our treasured relationships with the leading collectors and museums.

The gallery strives to inspire a richer understanding of the contributions of the leading American artists.

Norman Lewis Untitled, 1962 Oil on paper 40 3/8 x 26 inches

Keynotes

Keynote Dialogue Friday, April 30

Elizabeth Alexander President, The Andrew W. Mellon Foundation

Photograph by Djeneba Aduayom.

Elizabeth Alexander—decorated poet, educator, memoirist, scholar, and cultural advocate —is president of The Andrew W. Mellon Foundation, the nation’s largest funder in arts and culture, and humanities in higher education. Alexander has held distinguished professorships at Smith College, Columbia University, and Yale University, where she taught for 15 years and chaired the African American Studies Department. She is Chancellor Emeritus of the Academy of American Poets, a member of the American Academy of Arts and Sciences, serves on the Pulitzer Prize Board, and co-designed the Art for Justice Fund.

Notably, Alexander composed and delivered “Praise Song for the Day” for the 2009 inauguration of President Barack Obama, and is author or co-author of 14 books. Her book of poems, American Sublime, was a finalist for the Pulitzer Prize in Poetry in 2006, and her memoir, The Light of the World, was a finalist for the Pulitzer Prize in Biography in 2015.

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Keynotes

Mabel O. Wilson

Nancy and George Rupp Professor of Architecture, Planning, and Preservation; Professor in African American and African Diasporic Studies; and Director of the Institute for Research in African American Studies, Columbia University

Photograph by Dario Calmese.

Mabel O. Wilson is a Professor of Architecture and African American and African Diasporic Studies at Columbia University. She serves as the Director of the Institute for Research in African American Studies. She has authored Begin with the Past: Building the National Museum of African American History and Culture (2017), Negro Building: African Americans in the World of Fairs and Museums (2012), and the volume Race and Modern Architecture: From the Enlightenment to Today (2020), with Irene Cheng and Charles Davis. With her practice Studio &, she is a member of the architectural team that recently completed the Memorial to Enslaved African American Laborers at the University of Virginia.

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Keynotes

Keynotes Thursday, April 29

Dr. Porchia Moore

Department Head and Assistant Professor of Museum Studies, University of Florida

Dr. Moore is a critical race scholar interrogating the role and function of race in museums and the cultural heritage sector. Her curatorial vision is to be a story catcher and abolitionist. She is the co-creator of The Visitors of Color Project. Dr. Moore speaks internationally on issues of race, equity, and inclusion. She presents regularly at museum conferences such as AAM, MCN, SEMC, and Museums and the Web. Dr. Moore has served on numerous museum and museum professionals boards and committees.

She previously served as Inclusion Catalyst at the Columbia Museum of Art, where she also worked as consulting curator of African American Art for the Spoken rotating art gallery. She served as project advisor for MASS Action, was one of the founding architects for Museums and Race, and is Project Advisor and Regular Contributing Writer for Incluseum.

She has partnered with museums across the nation on education, training, and workshops on race and anti-racism in museums. You can follow her on Twitter @PorchiaMuseM.

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Keynotes

Monday, May 3

Suhanya Raffel

Museum Director, M+ of West Kowloon Cultural District Authority

Suhanya Raffel leads M+ as a whole and oversees all museum activities, including acquisitions, programming, collections care, development, research, institutional collaborations, and museum operations. She joined M+ as Executive Director in 2016 and was appointed Museum Director in 2019. Since joining M+, Suhanya has led the museum’s mission, broadening its international reach and championing its deep connection with its local community. Formerly, Suhanya was Deputy Director of the Art Gallery of New South Wales in Sydney from 2013 to 2016. She also held several positions, including Deputy Director of Curatorial at the Queensland Art Gallery/Gallery of Modern Art in Brisbane from 2002 to 2012, where she was instrumental in building the contemporary Asia Pacific collection and led its Asia Pacific Triennial of Contemporary Art. Suhanya is an ex-officio member of the M+ Board, a trustee of the Geoffrey Bawa Trust and the Lunuganga Trust in Sri Lanka, and a member of the Board of the International Committee for Museums and Collections of Modern Art. She was awarded the title of Chevalier in the Ordre des Arts et des Lettres by the French government in 2020.

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Canadian Premiere 24.02.2021— 20.06.2021

Lee Bae, Issu du feu, 2018. Charcoal, rubber band, 130 x 90 x 90 cm.

Courtesy of the artist and Perrotin.

LEE BAE UNION

Free admission Old Montréal

phi-foundation.org

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

Professional Practices Guide Freely accessible vital resource

Curator Gatherings Twice monthly member-only events

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 5 continents, 27 countries, 280+ cities and towns, and 450+ organizations Large metropolitan centers to regional areas

All fields and time periods

Inclusive of all career stages

2020 Programs Served over 8,000 individuals

Presented over 30 webinars & 42 gatherings

Awarded 38 fellowships

Provided over $100,000 in funding

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

Conference Schedule

Full Schedule Panels, Workshops & Talks Keynotes Breakouts Special Event Break

Thursday, April 29 11:00–11:10 AM ET

Welcome Address Marianne Lamonaca, Director of the Humanities Edge, Florida International University; President, Board of Trustees, AAMC & AAMC Foundation 11:10 AM–12:15 PM ET

Keynote Dr. Porchia Moore, Department Head and Assistant Professor of Museum Studies, University of Florida, with an introduction by Madhuvanti Ghose, Alsdorf Associate Curator of Indian, Southeast Asian, and Himalayan Art, Arts of Asia, The Art Institute of Chicago; Board of Trustees, AAMC & AAMC Foundation 12:15–1:15 PM ET

Break 1:15–2:00 PM ET

Breakout: Fellow and Member-Led Discussions • • • • • • • •

Collaborative Exhibition Planning Colonialism in Permanent Collections Community Advisory Groups Conflict Resolution Curatorial Team Building Digital Programs Guest Curator Partnerships Multi-language Labels

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Panel: BIPOC Reflections on Moving Forward As we continue to move through the time and space of this new decade, we are currently beholden to a crossroads of certain uncertainties and a reckoning to establish change within art institutions and spaces—especially in terms of equity and identity. Recent reports continue to show representation of identity in front and behind the scenes as an elusive mode. If recognized, only the few are visible or seen as viable to participate, akin to spectral beings filling voids when needed but consistently obscured by institutional practices dominated by White hegemonic aesthetics and supremacy. As BIPOC curators, how are we processing this reality where art and “identity” are becoming mainstream fixtures (again)? How and when do we work with or break from hegemonic systems? What are some of the histories, practices, and truths that we are holding to guide us through this time? The main question is what do we need to move forward.

Conference Schedule

2:00–3:10 PM ET

MODERATOR & ORGANIZER

Marissa Del Toro, Independent Curator and Art Historian PANELISTS

Stephanie Archangel, Curator, History Department, Rijksmuseum Vivian Crockett, The Nancy and Tim Hanley Assistant Curator of Contemporary Art, Dallas Museum of Art Jaclyn Roessel, Writer, Curator, Coach, and Cultural Equity & Justice Consultant Jennelyn Tumalad, Independent Curator and Program Manager 3:10–3:30 PM ET

Break 3:30–4:30 PM ET

Special Event: Awards for Excellence Ceremony 5:00–6:00 PM ET

Special Event: Special Access: Artist Visit Pre-registration required.

Join Myrtis Bedolla, Founding Director, Galerie Myrtis; Board of Trustees, AAMC & AAMC Foundation, for an intimate conversation with artist Morel Doucet about his work, current and upcoming projects, and more.

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Conference Schedule

Friday, April 30 10:30–11:00 AM ET

Talk: Algerian National Museal Collections Algerian National Museal Collections have suffered during several years, and mainly before 1962, from a deficit in representation of the successive sequences of its history. In fact, only the prehistorical and antique periods have been largely explored in the first half of the twentieth century, so the actual concern of the Algerian museologist is to present to the young public the largest panel of artistic and archeological documents able to retrace every step of Algeria’s national history.

SPEAKERS

Antri Azeddine, Heritage Curator, Son of Kheira Tidafi and Antri Mohamed Seghir

Dalila Orfali, Chief Curator and Director, National Fine Arts Museum of Algiers Harichane Zoheir, Director, Musée du Bardo, Algerian Ministry of Culture 11:00 AM–12:15 PM ET

Keynote Dialogue with Elizabeth Alexander, President, The Andrew W. Mellon Foundation, and Mabel O. Wilson, Nancy and George Rupp Professor of Architecture, Planning, and Preservation; Professor in African American and African Diasporic Studies; and Director of the Institute for Research in African American Studies, Columbia University, with an introduction by Mary-Kay Lombino, Deputy Director and Emily Hargroves Fisher ’57 and Richard B. Fisher Curator, The Frances Lehman Loeb Art Center, Vassar College; Conference Benefit Committee Co-Chair, AAMC & AAMC Foundation 12:15–12:45 PM ET

Break 12:45–1:50 PM ET

Panel: Changing the Culture of Silence

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Curators, valued for our scholarship, are often positioned as the core of our institutions. Yet, permeating the curatorial identity is a virulent, industry-wide “culture of silence.” This panel seeks to denounce this culture and discuss concrete ideas for positive change by defining our relationship with an ongoing cycle of abuse, bullying, and microaggressions enmeshed in our identity as curators and in our work culture. Naming the form abuse and power take regarding gender, race, ethnicity, elitism, and privilege reveal its grip on our industry.

Panels, Workshops & Talks

Keynotes

Breakouts

Special Event

Break

Conference Schedule

Stemming from patriarchal systems, curators, in order to advance, mimic, and perpetuate these attributes, unaware of their misuse of power. This conversation will challenge our profession to do better, to break this cycle of abuse, and explore new models that demonstrate respect for oneself and others. Taking cues from principles found in mentorships and practicing emotional intelligence, we can create a new curatorial leadership culture of care and respect.

MODERATOR & CO-ORGANIZER

Elisabeth Agro, Nancy M. McNeil Curator of American Modern and Contemporary Craft and Decorative Arts, Philadelphia Museum of Art CO-ORGANIZER

Nicole Elizabeth Cook, Program Manager for Graduate Academic Partnerships, Philadelphia Museum of Art PANELISTS

Hyeyoung Cho, Director, Songhyun Art/Editor-in-Chief, Monthly Hanok Magazine/Representative for South Korea, International Academy of Ceramics Christina Olsen, Director, University of Michigan Museum of Art Diva Zumaya, Assistant Curator, European Painting and Sculpture, Los Angeles County Museum of Art 1:50–2:00 PM ET

Break

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Conference Schedule

2:00–2:05 PM ET

Introduction to Workshop Judith Pineiro, Executive Director, AAMC & AAMC Foundation 2:05–3:30 PM ET

Workshop: On Becoming and Being A Cross-Racial Ally In times of great racial turmoil, turbulence, and strife there is always a population of committed and conscientious individuals outside of the targeted racial group who aspire to be allies in the struggle for racial and social justice. Being an effective cross-racial ally requires more than having good intentions or possessing a passionate desire to make a difference. At its core it is less concerned about what one says, or aspires to be, and more about the actions that one ultimately takes. Being an effective cross-racial ally requires knowing thyself as a racial being as well as developing mastery of a skillset that is germane to having intense, complicated, and nuanced conversations about race and racism. This workshop will conduct a comprehensive exploration of the salient issues and pitfalls that often impede the ability of the well-intentioned aspiring ally from becoming and being an effective cross-racial ally. Special attention will be devoted to identifying the steps and strategies for becoming and being an effective cross-racial ally.

SPEAKER

Kenneth V. Hardy, PhD, Clinical & Organizational Consultant, Eikenberg Institute for Relationships 3:30 PM ET

Closing Remarks Michelle Jacques, Head of Exhibitions & Collections/Chief Curator, Remai Modern; Board of Trustees, Vice President, Inclusion & Outreach, AAMC & AAMC Foundation

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Panels, Workshops & Talks

Keynotes

Breakouts

Special Event

Break

8:00–9:00 AM ET / 8:00–9:00 PM HKT

ommunity Gathering: C Time Zone Group: Individuals Located in Asia

Conference Schedule

Monday, May 3

9:00–10:00 AM ET / 3:00–4:00 PM CET

ommunity Gathering: C Time Zone Group: Individuals Located in Europe 10:00–10:05 AM ET

Welcome Mary-Kate O’Hare, Senior Vice President and Advisor, Art Advisory & Finance, Citi Private Bank; Board of Trustees, Vice President, Fundraising, AAMC & AAMC Foundation 10:05–11:15 AM ET

Keynote Suhanya Raffel, Museum Director, M+ of West Kowloon Cultural District Authority, with an introduction by Beth Citron, Artistic Director, Terrain.art, and Independent Curator; Board of Trustees, VP, Finance & Audit; Conference Benefit Committee Co-Chair, AAMC & AAMC Foundation 11:15–11:30 AM ET

Break 11:30 AM–12:30 PM ET

Special Event: Program Alumni Reception By invitation only.

12:30–1:15 PM ET

Break

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Conference Schedule

1:15–2:20 PM ET

Panel: Is this Appreciation or Assimilation?

This session will be a thoughtful discussion on the current institutional question of whether or not to fold Indigenous North American artists into American collections. Meant as a sign of respect and reconciliation, institutions considering this option seek to recognize the many contributions Indigenous people have made to the American artistic conversation.

However, might there be unintended consequences to this action? Panelists will explore areas of tension in this latest institutional question. We will critically examine whether such actions support the efforts of Indigenous artists to gain recognition and momentum in the artistic field and among a broader audience, or undermine Indigenous sovereignty by disrupting the legacy and trajectory of Indigenous North American artistic history. Panelists will consist of Indigenous elders, artists, and Indigenous and non-Indigenous curators, bringing a breadth of different perspectives and experiences to the discussion.

MODERATOR & CO-ORGANIZER

Dakota Hoska, Assistant Curator of Native Arts, Denver Art Museum PANELISTS

Andrea Carlson, Artist and Writer Robert Cozzolino, Patrick and Aimee Butler Curator of Paintings, Minneapolis Institute of Art Chief Arvol Looking Horse, Spiritual Advisor Jolene Rickard, Associate Professor, Departments of History of Art and Art, and the Director of the American Indian and Indigenous Studies Program, Cornell University 2:20–2:45 PM ET

Break

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Panels, Workshops & Talks

Keynotes

Breakouts

Special Event

Break

Panel: Museum & Marketplace Collaborations Lisa Dennison, Sotheby’s, Chairman, Americas, and Nina del Rio, Sotheby’s, Vice Chairman, Americas, and Head of Advisory and Museum, Private and Corporate Art Services, discuss areas of overlap and opportunities for partnership between the often distinct museum and marketplace realms.

Topics covered will include opportunities for joint cultivation and fundraising efforts, strategies, and methodologies for collection review and valuations, considerations for navigating the secondary market, and collaborative public messaging approaches.

Conference Schedule

2:45–3:30 PM ET

SPEAKERS

Nina del Rio, SVP, Vice Chairman, Americas; Head of Advisory and Museum, Private and Corporate Art Services, Sotheby’s Lisa Dennison, EVP, Chairman, Americas, Sotheby’s 3:45–4:30 PM ET

Breakout: RoundTables • • • • • • • • • • •

Active DEIA Advocacy Board & Donor Relations Digital Public Programs Discussing Museum & Marketplace Collaborations Inclusive Management International Loans Now Non-Western Provenance Research Online-Only Exhibitions Permanent Collection Review Process Recognition of Inequity in Labels Remote Internships/Fellowships

5:00–6:00 PM ET

Special Event: Special Access: Artist Visit Pre-registration required.

Join Denise Markonish, Senior Curator and Director of Exhibitions, MASS MoCA, for an intimate conversation with artist Trenton Doyle Hancock, with an introduction by Jane Cohan, Partner, James Cohan; Board of Trustees AAMC & AAMC Foundation.

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Conference Schedule

Tuesday, May 4 10:00–11:00 AM ET / 3:00–4:00 PM GMT

Community Gathering: Time Zone Group: Individuals Located in UK 11:00–11:10 AM ET

Welcome Elizabeth Morrison, Senior Curator of Manuscripts, J. Paul Getty Museum; Board of Trustees, VP, Governance & Nominating, AAMC & AAMC Foundation 11:10 AM–12:10 PM ET

Panel: The Identity of Islamic Art The name of the scholarly field shifted from Muhammadan Art to Mussulman Art and since the end of the nineteenth century it has been referred to as Islamic Art. Today, the term “Islamic” Art is discussed and debated among scholars and curators of the field, especially with regards to its formation, its Colonialist background (which includes Orientalism and nationalism), and its connotations in the post 9/11 world, a time of increasing Islamophobia.

Artistic traditions identified as “Islamic” originated in diverse cultures, traditions, and civilizations, and developed through extensive trade networks and interactions. Often, but not always, artworks arose under the umbrella of the Islamic faith and presented a certain unity in variety. Today, the field also includes contemporary art, and still raises a basic question about its definition and identity, namely, what is “Islamic” about Islamic Art? The panelists provide an exploration of the field’s past and present and discuss the position of Islamic Art—its possibilities and precarities—within the art world, academia, and the museum.

MODERATOR & CO-ORGANIZER

Filiz Çakır Phillip, Curator, Aga Khan Museum PANELISTS

Christiane Gruber, Professor and Chair, History of Art, University of Michigan Linda Komaroff, Curator of Islamic Art and Department Head, Art of the Middle East, Los Angeles County Museum of Art Tammam Azzam, Artist 12:10–12:30 PM ET

Break #AAMCOnline

Panels, Workshops & Talks

Keynotes

Breakouts

Special Event

Break

Introduction to FOCUS Peter J. Schertz, Jack & Mary Frable Curator of Ancient Art, Virginia Museum of Fine Arts; Board of Trustees, Vice President, Advocacy, AAMC & AAMC Foundation

Conference Schedule

12:30–12:35 PM ET

12:35–2:30 PM ET

OCUS Global Museum Practice: F African Restitution Case Studies The long-simmering issue of restitution of African artworks from public institutions in Europe and North America has taken on even greater urgency in recent years amidst calls for the decolonization of museums and rising public awareness. While most acknowledge the legal, ethical, and moral imperative faced by collecting institutions, there is little consensus with regard to the methods and guidelines that would best inform efforts for restitution and the various forms it might take. This FOCUS program presents three case studies involving the restitution of African art as distinct and concrete examples from which we may learn. In a series of 30-minute conversations, specialists from Africa, Europe, and the United States will discuss the goals, strategies, successes, and challenges of three initiatives that extend over a 15-year period.

A concluding conversation and Q&A will bring the conversations together and look ahead to future possibilities and solutions.

The program was created by and will be guided and directed by Kathleen Bickford Berzock, Associate Director of Curatorial Affairs, The Block Museum of Art, Northwestern University, and Christa Clarke, Independent Curator and Affiliate, Hutchins Center for African & African American Research, Harvard University; Past President & Trustee Emerita, AAMC & AAMC Foundation.

PANELISTS

Ahmed Z. Abubaker, Retired Chief Curator, Addis Ababa University, Institute of Ethiopian Studies Edith Ekunke, Curator, Retired Director of Museums, Nigerian National Commission for Museums and Monuments Monica Hanna, College of Archaeology and Cultural Heritage; The Arab Academy for Science, Technology, and Maritime Transport Enotie Ogbebor, Artist Barbara Plankensteiner, Director, Museum am Rothenbaum—World Cultures and Arts (MARKK), Hamburg, Germany Ciraj Rassool, Professor, Department of History, University of the Western Cape #AAMCOnline

Conference Schedule

2:30–2:35 PM ET

Closing Remarks Judith Pineiro, Executive Director, AAMC & AAMC Foundation 2:35–2:45 PM ET

Break 2:45–3:45 PM ET

Community Gatherings: Fields • • • • • • • • • • • • • • • • • • •

British and European Art: Eighteenth to Twentieth Centuries Indigenous Art African American Art African Art Historic American Art, including Latinx and Native American Art Ancient Americas Asian Art, including Japanese, Chinese, Korean, and/or Southeast Asian Canadian Art Contemporary Art Decorative Arts, Design, and Architecture European Painting & Sculpture Fifteenth–Eighteenth Centuries Film, Multimedia, Performance, and/or New Media Ancient Greek, Roman, Egyptian, and Near Eastern Art Islamic Art Latin American Art Medieval and Byzantine Art Modern Art Photography Drawings and Works on Paper

3:45–4:00 PM ET

Break 4:00–5:00 PM ES / 3:00–4:00 PM CDT / 2:00–3:00 PM CT and MT / 1:00–2:00 PM PST, HAST, and AK

ommunity Gathering: C Time Zone Group: Individuals Located in ET Community Gathering: Time Zone Group: Individuals Located in CT/MT Community Gathering: Time Zone Group: Individuals Located in PST/HAST/AK #AAMCOnline

Panels, Workshops & Talks

Keynotes

Breakouts

Special Event

Break

We are proud to support the mission and membership of the Association of Art Museum Curators

BETTY KRULIK FINE ART LIMITED 50 East 72nd Street New York, NY 10021 Tel 917.582.1300 By appointment bkrulikfineart@gmail.com

www.brulikfineart.com

NEW FROM HIRMER PUBLISHERS

TEXTURES The History and Art of Black Hair $ 39.95 978-3-7774-3554-1 In association with Kent State University Museum

REVISÍON A New Look at Art in the Americas $ 40.00 978-3-7774-3434-6 In association with Denver Art Museum

ANGELA DAVIS Seize The Time PAULO NAZARETH Melee $ 45.00 978-3-7774-3732-3 In association with Institute of Contemporary Art, Miami

PAINTINGS ON STONE Science and the Sacred 1530–1800 SHAHZIA SIKANDER Extraordinary Realities

$ 50.00 978-3-7774-3556-5 In association with Saint Louis Art Museum

$ 45.00 978-3-7774-3559-6 In association with RISD Museum, Providence

RELATIONS Diaspora and Painting / La diaspora et la peinture

THOUGHT EXPERIMENTS The Art of Jonathon Keats $ 45.00 978-3-7774-3427-8 In association with Anchorage Museum at Rasmuson Center

$ 45.00 978-3-7774-3574-9 In association with Zimmerli Art Museum, Rutgers University, New Brunswick

GERALD CLARKE Falling Rock $ 50.00 978-3-7774-3449-0 In association with Palm Springs Art Museum

$ 50.00 978-3-7774-3599-2 In association with Fondation Phi pour l`art contemporain, Montréal

PUBLISHERS

SUPPORTS THE AAMC gallery publications to be released in 2021 Blythe Bohnen: Process, Performance and Perception First scholarly overview of Blythe Bohnen’s process driven paintings, photography and drawings of the 1960’s and 1970’s. Blythe Bohnen was a founding member of the A.I.R. Gallery in NYC the first all female artist cooperative gallery in the United States. The book will present the artist’s process brushstroke paintings created between 1968 – 1972, an overview of her radical photographic self-portraits, her process drawings and her minimalist photographs.

With essays and writing by Silke von Berwordt, Suzanne Hudson, Karen Irvine, Anna Lovatt, David Mather and Anne Rorimer.

Leslie Bohnenkamp: Fifteen Years A beautifully illustrated publication. Three dimensional drawings, group sculptures, constructions and works on paper by a remarkable innovator whose short (1970 – 1985) but brilliant career is captured in the thoughtful writing of art historian Glenn Adamson.

David Hall Gallery 555 Washington Street, Wellesley, MA 02482 Tel 781 235 0955 www.dhallfineart.com

Panelist & Presenter Bios

Panelist & Presenter Bios Ahmed Z. Abubaker, Retired Chief Curator, Addis Ababa University, Institute of Ethiopian Studies Time really flies fast—it has already been four decades that I’ve spent in the field of heritage management. I am retired and willing to share my experience without any reservation. My dream is to see a better world whereby we can enjoy human endeavors through diverse memories reflected in tangible as well as intangible heritage of the world. I am a committee member of the Great Museum of Africa (GMA), which is planned to be realized in Algiers. It gives me great pleasure to visualize Africa in one edifice. It puts us directly into the new wheeler pull of the restitution of looted and stolen masterpieces of African heritage.

Our task is to represent Africa in its beauty and glory. My Africa, a cradle of humanity, has suffered immensely when it comes to the loss of its working force through slavery and recent looting of its masterpieces through colonization. I feel that all of us who are engaged in the heritage world should come to our senses and find an amicable solution to this impasse. This is an ongoing activity until we realize a representative of African beauty and glory in our Flagship Project of 2063. This is on a continental level. There are a few engagements that keep me busy, such as working on a local level on how to restore Ethiopian knowledge, which is scattered all over the world, through a digital format and also through joint exhibitions among local museums and international ones.

I dream of a better future for I see light at the end of the tunnel.

Elisabeth Agro, The Nancy M. McNeil Curator of American Modern and Contemporary Craft and Decorative Arts, Philadelphia Museum of Art

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Elisabeth, a museum curator and historian, embraces authenticity and pragmatism while bringing humanity into her discipline. She works collaboratively with colleagues and artists to advance an international view of contemporary decorative arts. Empathetic scholarship is central to her curatorial practice, which examines cultural, socio-political, and economic contexts to foster a deeper understanding of contemporary art and the lived experience it captures. As a co-Founder of Critical Craft Forum, Elisabeth is committed to craft’s inclusion in the ever-changing global landscape of contemporary art and rethinking craft’s past as well as shifts in nomenclature, classifications, marketplace, and presentation of the museum’s collection. Her current projects include New Grit: Art & Philly Now, a cross-departmental installation to inaugurate the museum’s new contemporary art galleries; co-curating a major exhibition examining ruptured time in contemporary Korean art; and contributing to the four-volume catalogue of the PMA’s American silver collection.

Elizabeth Alexander—decorated poet, educator, memoirist, scholar, and cultural advocate— is president of The Andrew W. Mellon Foundation, the nation’s largest funder in arts and culture, and humanities in higher education. With more than two decades of experience leading innovative programs in education, philanthropy, and beyond, Dr. Alexander builds partnerships at Mellon to support the arts and humanities while strengthening educational institutions and cultural organizations across the world.

Panelist & Presenter Bios

Elizabeth Alexander, President, The Andrew W. Mellon Foundation

Prior to joining the Foundation, Dr. Alexander served as the director of Creativity and Free Expression at the Ford Foundation, shaping Ford’s grantmaking vision in arts and culture, journalism, and documentary film.

There, she co-designed the Art for Justice Fund—an initiative that uses art and advocacy to address the crisis of mass incarceration—and guided the organization in examining how the arts and visual storytelling can empower communities.

Over the course of a distinguished career in education, Dr. Alexander has taught and inspired a generation of students. She was the Wun Tsun Tam Mellon Professor in the Humanities at Columbia University from 2015 until joining the Foundation in 2018. Between 2000 and 2015, Dr. Alexander taught at Yale University, where she was a professor in the departments of African American Studies, American Studies, and English, helping rebuild the school’s African American Studies Department while serving as its chair for four years. In 2015, she was appointed Yale University’s inaugural Frederick Iseman Professor of Poetry. At Smith College, Dr. Alexander was the Grace Hazard Conkling Poet-in-Residence and the inaugural director of the Poetry Center. While an assistant professor at the University of Chicago, she was awarded the Quantrell Prize for Excellence in Undergraduate Teaching.

An author or co-author of 14 books, Dr. Alexander was twice a finalist for the Pulitzer Prize for Poetry with American Sublime and for Biography with her 2015 memoir, The Light of the World. Her poetry and essays include Crave Radiance: New and Selected Poems 1990–2010 (2010), Power and Possibility: Essays, Reviews, Interviews (2007), American Sublime (2005), The Black Interior: Essays (2004), Antebellum Dream Book (2001), Body of Life (1996), and The Venus Hottentot (1990). Accolades for her work include the Jackson Poetry Prize, John Simon Guggenheim Memorial Foundation Fellowship, George Kent Award, National Endowment for the Arts Fellowship, and three Pushcart Prizes for Poetry. In 2009, Dr. Alexander composed and delivered a poem, “Praise Song for the Day,” for President Barack Obama’s inauguration.

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Alexander earned a BA from Yale University, an MA from Boston University, and a PhD in English from the University of Pennsylvania. She holds honorary doctorates from Yale University, Haverford College, Simmons College, and the College of St. Benedict. Dr. Alexander is Chancellor Emeritus of the Academy of American Poets, a member of the American Academy of Arts and Sciences, and serves on the Board of the Pulitzer Prize.

Panelist & Presenter Bios

Stephanie Archangel, Curator, History Department, Rijksmuseum Stephanie Archangel studied sociology at the University of Amsterdam and has been a Junior Curator in the Rijksmuseum’s History Department since November 2016. Her specialty is the seventeenth century. She is co-creator of the exhibitions, as well as co-author of the accompanying catalogues, 80 Years’ War and Here: Black in Rembrandt’s Time, on the perception of Black African figures in art of the seventeenth century. She is also a member of the terminology project in which the Rijksmuseum takes a critical look at the existing titles and descriptions of its collection.

Antri Azeddine, Heritage Curator, Son of Kheira Tidafi and Antri Mohamed Seghir I am responsible, dynamic, making organizations and exhibitions that make our heritage well known.

Tammam Azzam, Artist Tammam Azzam is a contemporary Syrian artist whose works deal directly with the ongoing conflict in his country. He currently lives and works in Berlin, Germany. Often functioning as visual metaphors, Azzam depicts bleeding apples, the Statue of Liberty made from rubble, and bullet-riddled street signs. “The only thing that I can do as an artist is to try to make evocative and thoughtful images relating to what I have witnessed, in order to give the world a better understanding of the situation,” he has said. Born in 1980 in Damascus, Syria, he studied painting at the University of Damascus.

Before the Syrian uprising, the artist had a successful career as a painter. He was forced to leave his studio in Damascus in 2011 for Dubai, where Azzam spent the next four years. Along with painting, the artist now produces graphic design, sculptures, and digital works.

Myrtis Bedolla, Founding Director, Galerie Myrtis; Board of Trustees, AAMC & AAMC Foundation

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Myrtis Bedolla possesses over 30 years of experience as an advisor to private collectors as well as to public and private institutions in the acquisition and deaccession of fine art; and provides professional curatorial services, lectures, and educational programming to corporate, civic, and arts organizations. Bedolla is the recipient of the Foreign Language and Area Studies Fellowship, African Language Institute, Shona Language and Culture, from Michigan State University; holds a BS in Business Administration from the University of Maryland, University College; received her curatorial training at the Maryland Institute College of Art in Baltimore, Maryland; and earned an online certificate in Cultural Theory for Curators from the Node Center for Curatorial Studies, Berlin, Germany. Bedolla is a member of ArtTable and a Board member of the Association of African American Museums.

Kathleen Bickford Berzock is Associate Director of Curatorial Affairs at Northwestern University’s Block Museum of Art, where she provides artistic leadership for the exhibition, publication, and collection programs in support of the museum’s cross-cultural and interdisciplinary mission. She is curator of the award-winning exhibition Caravans of Gold, Fragments in Time: Art, Culture, and Exchange across Medieval Saharan Africa, and the editor of its companion publication and multilingual application. Berzock is co-editor with Christa Clarke of Representing Africa in American Art Museums: A Century of Collecting and Display. From 1995 to 2013, she was Curator of African Art at the Art Institute of Chicago. Berzock received her PhD from Indiana University.

Panelist & Presenter Bios

Kathleen Bickford Berzock, Associate Director of Curatorial Affairs, The Block Museum, Northwestern University

Andrea Carlson, Artist and Writer Andrea Carlson (b. 1979) is a visual artist currently living in Chicago, Illinois. Current research activities include Indigenous Futurism and assimilation metaphors in film. Her work has been acquired by institutions such as the British Museum, Minneapolis Institute of Art, and National Gallery of Canada. Carlson was a 2008 McKnight Fellow and a 2017 Joan Mitchell Foundation Painters & Sculptors Grants recipient.

Hyeyoung Cho, Director, Songhyun Art/Editor-in-Chief, Monthly Hanok Magazine/Representative for South Korea, International Academy of Ceramics Hyeyoung, an independent curator of craft, personifies the practice of radical sharing in her curatorial practice. An internationally recognized curator, she works globally for acclaimed museums and organizations. Enmeshed with many art organizations in South Korea over the past twenty years, Hyeyoung began as a studio artist, working her way up to curator, artistic director, and an administrator. She served as Secretary General for the Korea Craft and Design Foundation, an arm of the Ministry of Sports, Culture, and Tourism. Committed to exporting her country’s cultural assets, Hyeyoung worked as International Commissioner connecting the world with the Gyeonggi International Ceramic Biennales and as Art Director for the Cheongju International Craft Biennale in 2015. Trained as a ceramic artist, she graduated from the University of the West of England, Bristol, followed by a master’s degree from Ewha Women’s University. She is currently a PhD candidate at Ewha Women’s University, Department of Art Theory. #AAMCOnline

Panelist & Presenter Bios

Beth Citron, Artistic Director, Terrain.art, and Independent Curator; Board of Trustees, VP, Finance & Audit, Conference Benefit Committee Co-Chair, AAMC & AAMC Foundation Beth Citron is a New York–based curator and art historian. A 2019 recipient of an Asian Cultural Council Fellowship for research on the curatorial history of modernist art from India, she was the founding Curator of Modern and Contemporary Art at the Rubin Museum of Art until leaving the museum in October 2019. Her exhibitions at the Rubin include Shahidul Alam: Truth to Power (2019), Chitra Ganesh (2018), A Lost Future: Shezad Dawood/The Otolith Group/Matti Braun (2018), Henri Cartier-Bresson: India in Full Frame (2017), Francesco Clemente: Inspired by India (2014), Witness at a Crossroads: Photographer Marc Riboud in Asia (2014), and the three-part series on Modernist Art from India (2011–2013). As an advisor and guest curator for the Dhaka Art Summit, she advised on an exhibition of modernist art across South Asia (2016) and co-organized a live program of artists’ performance lectures (2018).

Citron has also contributed essays to numerous catalogs about South Asian art for exhibitions in the United States and Asia and articles to peer-reviewed and critical journals such as Art Journal and Artforum.

She holds a PhD in Art History from the University of Pennsylvania, and has taught in the Art History Department at New York University, from which she also earned a BA in Fine Arts.

Christa Clarke, Independent Curator/Research Affiliate, Hutchins Center for African & African American Research, Harvard University; Past President & Trustee Emerita, AAMC & AAMC Foundation Christa Clarke has long been committed to advancing equity in museums through her curatorial work, scholarship, and professional service, including serving as the AAMC’s Board President from 2017 to 2019.

She was previously Senior Curator, Arts of Global Africa, at the Newark Museum, where she organized exhibitions on topics ranging from men’s fashion to Nigerian modernism and established Newark’s collection of modern and contemporary African art. A 2012 fellow at the Center for Curatorial Leadership, Clarke has also held research fellowships at the Smithsonian, Metropolitan Museum, Harvard, and Clark Art Institute.

Her publications include Representing Africa in American Art Museums, co-edited with Kathleen Berzock (2010), and African Art at the Barnes Foundation (2015), which received the David C. Driskell Award for African American History and First Prize from the Association of Art Museum Curators. She is currently completing the book The Activist Collector: An African American Woman in Pre-Apartheid South Africa.

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Jane Cohan is a partner in James Cohan, an international contemporary art gallery with two locations in NYC, in the TriBeCa and the Lower East Side art districts. At the gallery, Cohan works closely with artists, curators, and collectors, and with her training as an industrial designer, she does project management for large-scale public art installations for gallery artists.

Cohan is a Board member of two New York–based organizations: Prospect Park Alliance, which manages Prospect Park in Brooklyn, and African Services Committee, which provides assistance to immigrants to the United States. She is a member of the Art Dealers Association of America along with her husband, James Cohan.

Panelist & Presenter Bios

Jane Cohan, Partner, James Cohan; Board of Trustees AAMC & AAMC Foundation

Nicole Elizabeth Cook, Program Manager for Graduate Academic Partnerships, Philadelphia Museum of Art Nicole is a museum professional and a scholar of early modern European art who is interested in interrogating the traditional centering of Renaissance and Baroque art in museums and finding new ways for these works to resonate with today’s audiences. At the Philadelphia Museum of Art, she currently facilitates academic engagement with regional art history departments and programming for fellows. She holds a PhD in Art History from the University of Delaware, an MA in Art History from Temple University, and a BFA in Studio Art. She has previously held curatorial positions at the Science History Institute and The Leiden Collection, and regularly teaches and guest lectures at the college level. Nicole is a member of the Philadelphia Museum of Art Union Organizing Committee and believes in the critical importance of advocating for labor rights in museums.

Robert Cozzolino, Patrick and Aimee Butler Curator of Paintings, Minneapolis Institute of Art

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Robert Cozzolino has been called the “curator of the dispossessed” for championing underrepresented artists and uncommon perspectives on well-known artists. His curatorial approach integrates community collaboration, and he is devoted to making space for emerging curators.

He has written for numerous publications including essays on Gertrude Abercrombie, Ivan Albright, Benny Andrews, Harriet Bart, Hazel Belvo, Peter Blume, Astrid Bowlby, Salvador Dalí, Jim Denomie, Sylvia Fein, Dudley Huppler, Henry Koerner, David Lynch, Jim Nutt, Elizabeth Osborne, Bernard Perlin, Faith Ringgold, Peter Saul, Honoré Sharrer, Henry Ossawa Tanner, Bob Thompson, George Tooker, Dyani White Hawk, Ray Yoshida, John Wilde, and others. From 2004 to 2016, he was a Curator at the Pennsylvania Academy of the Fine Arts (PAFA) in Philadelphia. He added more than 2,000 objects to PAFA’s collection, including the Linda Lee Alter Collection of Art by Women and major gifts of work by Sue Coe, Ellen Lanyon, and Miriam Schapiro.

Panelist & Presenter Bios

Vivian Crockett, The Nancy and Tim Hanley Assistant Curator of Contemporary Art, Dallas Museum of Art Vivian Crockett is a Brazilian-American researcher, scholar, and curator focusing largely on modern and contemporary art of African diasporas, (Afro) Latinx diasporas, and the Americas at the varied intersections of race, gender, and queer theory. She is a PhD candidate in Art History at Columbia University whose dissertation examines artistic practices and discourses in Brazil in the sixties and seventies. Crockett previously worked at the San Francisco Museum of Modern Art as a Research Associate in the museum’s Painting and Sculpture Department and has worked independently with various institutions since 2015. Crockett was the 2017–2018 Mellon Museum Research Consortium Fellow in Media and Performance Art at the Museum of Modern Art, New York, and a Joan Tisch Teaching Fellow at the Whitney Museum of American Art from 2018 to early 2020. She has published texts for the Metropolitan Museum of Art, Museum of Modern Art, Studio Museum in Harlem, Leslie-Lohman Museum, and MASP (Museu de Arte de São Paulo), among others.

Nina del Rio, SVP, Vice Chairman, Americas; Head of Advisory and Museum, Private and Corporate Art Services, Sotheby’s Throughout her career working in various arts organizations, Nina del Rio has always been passionate about the nexus between art and business. Under her direction since 2004, Sotheby’s Museum, Private and Corporate Art Services has overseen the vast majority of institutional and corporate collections to have come to market. In 2020, she also assumed leadership of Sotheby’s Advisory, which provides bespoke collection strategies to individuals, institutions, and corporations.

Ms. del Rio began her career as a Sotheby’s intern in 1988. After a brief hiatus publishing prints at Marlborough Gallery, New York, she returned in 1995 to become Director of Sotheby’s Contemporary Prints Department. Starting in 1999, she helped launch Sotheby’s online auction platform, managing strategic partnerships with Amazon and eBay. Ms. del Rio graduated cum laude from Tufts University. She also attended the École du Louvre in Paris, after which she worked at PS1 in Long Island City, New York.

Marissa Del Toro, Independent Curator and Art Historian

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Marissa Del Toro is an independent curator and art historian of contemporary, modern, and ancient art of the Americas (primarily Latin America and the US).

In both her professional and personal life, she continues to work towards the promotion and advocacy for diverse narratives within art. She previously held positions as the Curatorial Fellow at the Phoenix Art Museum from 2018 to 2020, Santa Barbara Museum of Art from 2017 to 2018, and Getty Research Institute as a Graduate Intern from 2016 to 2017. She was Curatorial Assistant Intern for the UTSA Art Gallery from 2015 to 2016; and participated in the 2015 Latino Museum Studies Program at the Smithsonian Latino Center.

She graduated from the University of Texas at San Antonio with her MA in Art History and is originally from Southern California, where she received her BA in Art History from the University of California, Riverside.

Lisa Dennison’s personal mission is to help collectors build the very best collection they can, no matter what period, style, or category. She focuses on international business development in her role as Chairman, Americas at Sotheby’s. From 1978 to 2007, Ms. Dennison was on the staff of the Solomon R. Guggenheim Foundation, most recently as Director of the Guggenheim Museum and prior to that as Deputy Director and Chief Curator of the Foundation. During this time, Ms. Dennison strengthened the visibility and reputation of the museum, while helping to realize its institutional goals as the flagship of its premier global network of museums in New York, Venice, Bilbao, Berlin, and Las Vegas.

Ms. Dennison earned her BA from Wellesley College in Art History and French in 1975, and received an MA in Art History from Brown University in 1978.

Panelist & Presenter Bios

Lisa Dennison, EVP, Chairman, Americas, Sotheby’s

Morel Doucet, Artist Morel Doucet (b. 1990, Pilate, Haiti) is a Miami-based multidisciplinary artist and arts educator who hails from Haiti. His work portrays a contemporary depiction of the Black experience, cataloging a powerful record of environmental decay at the intersection of economic inequity, the commodification of industry, personal labor, and race.

Doucet’s Emmy-nominated work has been featured and reviewed in numerous publications including Vogue Mexico, Oxford University Press, Hyperallergic, Biscayne Times, and Hypebeast.

Doucet graduated from the New World School of the Arts with the Distinguished Dean’s Award for Ceramics. He continued his arts education at the Maryland Institute College of Art, receiving his BFA in Ceramics with a minor in creative writing and concentration in illustration.

Works by Doucet have been exhibited extensively in prestigious national and international institutions, including at the Havana Biennial; the African Heritage Cultural Arts Center, Miami; the National Council on Education for Ceramic Arts, Pittsburgh; American Museum of Ceramic Art, Pomona; Museum of Contemporary Art North Miami; Flaten Art Museum, St. Olaf College, Northfield, MN; São Tomé et Príncipe; Haitian Heritage Museum, Miami; and Patricia & Phillip Frost Art Museum, Miami.

His current endeavor as the Curriculum and Tour Coordinator at the Institute of Contemporary Art, Miami, is helmed by an interest in immersing young audiences in personalized courses that instigate curiosity, sensory perception, and visual literacy.

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Panelist & Presenter Bios

Edith Ekunke, Curator, Retired Director of Museums, Nigerian National Commission for Museums and Monuments Prior to my employment at the National Commission for Museums and Monuments, Nigeria, I had no previous knowledge of the workings of a museum. My entry into the museum profession was accidental.

I viewed the museum profession as a stopgap in my entry into the civil service. I grew to value and to love the profession. It opened to me a new, beautiful world of the richness in the Nigerian cultural heritage.

Through my interaction with other museum professionals in Nigeria and abroad, my interest intensified and this gave me another perspective of the dynamism of Nigerian heritage. My deep passion and desire is for the development of the museum profession and infrastructures in Nigeria to be comparable to an international standard but with our own distinct peculiarities and cultural flavors as Nigerians.

Madhuvanti Ghose, Alsdorf Associate Curator of Indian, Southeast Asian, and Himalayan Art, Arts of Asia, The Art Institute of Chicago; Board of Trustees, AAMC & AAMC Foundation Dr. Madhuvanti Ghose is the first Alsdorf Associate Curator of Indian, Southeast Asian, and Himalayan Art, Arts of Asia at The Art Institute of Chicago. Since joining the Art Institute in 2007, Ghose has launched the Alsdorf Galleries of Indian, Southeast Asian, Himalayan, and Islamic Art (2008) and curated the site-specific Public Notice 3 (2010–2011)

by Jitish Kallat, which was the first show by a contemporary Indian artist to be held at the Art Institute. She has curated a series of Indian art exhibitions for the Art Institute including Gates of the Lord: The Tradition of Krishna Paintings (2015–2016) and Vanishing Beauty: Asian Jewelry and Ritual Objects from the Barbara and David Kipper Collection (2016).

Dr. Ghose led the Vivekananda Memorial Program for Museum Excellence (2012–2016), a four-year project funded by a grant from the Government of India that was designed to foster professional exchanges between the Art Institute and various museums in India. In 2013, she was honored by the Chicago Foundation for Women with a Breaking Barriers Award, and in 2014, she was presented with the Outstanding Community Service Award by the Vishwa Gujarati Samaj, USA. After completing her doctoral dissertation at the University of London, Ghose was a Research Fellow at the Department of Eastern Art, Ashmolean Museum, Oxford University.

She was previously Lecturer in South Asian Art and Archaeology at the School of Oriental and African Studies, University of London, UK.

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Christiane Gruber’s primary field of research is Islamic book arts, paintings of the Prophet Muhammad, and Islamic ascension texts and images, about which she has written three books and edited several volumes of articles. She also pursues research in Islamic book arts and codicology, having authored the online catalogue of Islamic calligraphies in the Library of Congress as well as edited the volume of articles entitled The Islamic Manuscript Tradition. Her third field of specialization is modern Islamic visual and material culture. Her most recent publications include her book The Praiseworthy One: The Prophet Muhammad in Islamic Texts and Images and her edited volume The Image Debate: Figural Representation in Islam and Across the World, both published in 2019. Through her work, Gruber aims to engage students, interested audiences, and those outside academia in a more polyphonous and interdisciplinary view of Islam, art, and history.

She brings new voices, perspectives, and methodologies into the field.

Panelist & Presenter Bios

Christiane Gruber, Professor and Chair, History of Art, University of Michigan

Trenton Doyle Hancock, Artist Over a career spanning nearly 25 years, Trenton Doyle Hancock has created a singular body of visual art that subverts and synthesizes his omnivorous influences to invent a world entirely his own. Part fictional, part autobiographical, Hancock’s work pulls from his own personal experience, art historical canon, comics and superheroes, pulp fiction, and pop culture references, resulting in a complex amalgamation of characters and plots possessing universal concepts of light and dark, good and evil, and all the grey in between. Hancock’s work is in the permanent collections of institutions including the Museum of Modern Art, New York; Whitney Museum of American Art, New York; Metropolitan Museum of Art, New York; Studio Museum in Harlem, New York; Brooklyn Museum; San Francisco Museum of Modern Art; Dallas Museum of Art; Menil Collection, Houston; and Museum of Fine Arts, Houston.

The recipient of numerous awards, Hancock lives and works in Houston, Texas.

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Panelist & Presenter Bios

Monica Hanna, College of Archaeology and Cultural Heritage; The Arab Academy for Science, Technology and Maritime Transport Dr. Monica Hanna is an international figure in the world of archaeology. She did her undergraduate studies in Egyptology and Archaeological Chemistry at the American University in Cairo (AUC), 2004. Hanna then pursued an MA TEFL 2006 at AUC as well. She later joined the University of Pisa, Italy, to complete her doctorate in archaeology entitled “Problems of Preservation of Mural Paintings in the Theban Necropolis: A Pilot Study on the Theban Tomb 14 using 3D Scanning Techniques.” From July 2011 until November 2012, Monica was a post-doctoral fellow in the Topoi Cluster of Excellence in the Department of Egyptology and North African Studies at Humboldt University.

Currently, Hanna is the acting Dean of the College of Archaeology and Cultural Heritage, Arab Academy for Science and Technology and Maritime Transport (AASTMT) in Aswan, Egypt, where she has founded a program specialized in Archaeology and Cultural heritage with eight departments for the BA level.

Her research focuses on space, knowledge, and identity of archaeological sites, with particular interest on different meanings and reflections of heritage on identity of space and communities. She has worked on a project in al-Qurna, Luxor, on the different narratives of the multiple worlds of the Theban Necropolis and its meanings to the various stakeholders. Post the year 2011, Hanna has been working with the media and a group of volunteers to bring awareness to the plight of various archaeological sites in Egypt, including and especially Dahshur, Abu Sir el-Maleq and Ancient Heliopolis. She courageously spoke and defended the heritage of Egypt and its protection. Hanna has been granted numerous awards including the SAFE beacon award for 2014 for her efforts in the salvage of antiquities under conflict and was named by UNESCO the Monuments Woman of 2014. She has also received the “Distinguished AUC Alumna” award two times, once in Cairo in 2014 and the other in New York in 2015. Her current research focuses on decolonizing archaeology, repatriation, and restitution amongst methods for accessibility for the wider public to archaeology and heritage with particular interest in digital humanities. In 2020, she was awarded a research grant as part of Action for Restitution in Africa in collaboration with the University of Oxford.

Kenneth V. Hardy, PhD, Clinical & Organizational Consultant, Eikenberg Institute for Relationships

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Dr. Hardy provides racially focused trauma informed training, executive coaching, and consultation to a diverse network of individuals and organizations throughout the United States and abroad. He is a former Professor of Family Therapy at both Drexel University in Philadelphia and Syracuse University in New York, and has also served as the Director of Children, Families, and Trauma at the Ackerman Institute for the Family in New York, NY. He is the author of Culturally Sensitive Supervision: Diverse Perspectives and Practical Applications, Promoting Culturally Sensitive Supervision: A Manual for Practitioners, Revisioning Family Therapy: Addressing Diversity in Clinical Practice, and Teens Who Hurt: Clinical Interventions to Break the Cycle of Adolescent Violence. In addition to his consultation work, Dr. Hardy is a frequent conference speaker and has also appeared on ABC’s 20/20, Dateline NBC, PBS, and the Oprah Winfrey Show.

Chief Arvol Looking Horse was born on the Cheyenne River Reservation in South Dakota. His primary responsibility is serving as the nineteenth Generation Keeper of the Sacred White Buffalo Calf Pipe—a role he was given at the age of 12, making him the youngest pipe keeper in Lakota history. As keeper of the sacred Pipe, he also serves as the spiritual leader to the Lakota, Dakota, and Lakota Nation. He grew up in an era of religious suppression, where traditional Lakota ceremonies were outlawed in both the US and Canada from the early 1900s until the Indian Religious Freedom Act in 1978. Arvol’s advocacy of environmental and Indigenous rights and issues has been recognized globally as a recipient of the Wolf Award of Canada, the Juliet Hollister Award, a Non-Governmental Organization with Consultation Status with the United Nations Economic and Social Council.

He is also the author of White Buffalo Teachings and a guest columnist for Indian Country Today. Since 1990, Arvol has also devoted himself to facilitate healing to all people and cultures through several sacred Prayer Rides on Horseback.

Panelist & Presenter Bios

Chief Arvol Looking Horse, Spiritual Advisor

Dakota Hoska, Assistant Curator of Native Arts, Denver Art Museum Dakota Hoska is an enrolled member of the Oglála Lakȟóta Nation, Pine Ridge (Wounded Knee). She joined the Denver Art Museum in 2019 as the Assistant Curator of Native Arts, after serving four years as a Curatorial Research Assistant at the Minneapolis Institute of Art, supporting the Hearts of Our People: Native Women Artists exhibition. Dakota completed her MA in Art History with a focus on Native American Art History at the University of St. Thomas (2019) and her BFA at the Minneapolis College of Art and Design (2012). She has a passion for connecting Indigenous people to museum collections, encouraging them to view collections as sources of pride and as building blocks for Native nations looking toward the future.

She also works to center her curatorial practice on collaboration, honest dialogue, and facilitating connections, which she hopes will help more people recognize the humanity in each other.

Michelle Jacques, Head of Exhibitions & Collections/Chief Curator, Remai Modern; Board of Trustees, Vice President, Inclusion & Outreach, AAMC & AAMC Foundation

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In February 2021, Michelle Jacques moved to Treaty 6 Territory and the Traditional Homeland of the Métis to take on the role of Head of Exhibitions and Collections/Chief Curator at Remai Modern in Saskatoon, Saskatchewan. Prior to moving to the Canadian prairies, she was the Chief Curator at the Art Gallery of Greater Victoria in British Columbia for eight years; before that, she held curatorial positions in the Contemporary and Canadian Departments at the Art Gallery of Ontario, Toronto. While her long-term commitment is to visual art museums, she has also worked as the Director of Programming at the Centre for Art Tapes, an artist-run centre in Halifax, Nova Scotia, and taught writing, art history, and curatorial studies at NSCAD University, the University of Toronto Mississauga, and OCAD University. She holds an MA from York University in Toronto, Ontario, and a BA from Queen’s University in Kingston, Ontario.

Panelist & Presenter Bios

Linda Komaroff, Curator of Islamic Art and Department Head, Art of the Middle East, Los Angeles County Museum of Art During her long curatorial career at LACMA, Linda Komaroff has been concerned with demonstrating the deep connection between past and present, which is at the heart of any great encyclopedic art museum.

She has helped to double the size of the museum’s collection of Islamic art, including a nearly complete eighteenth-century Damascus Room, while in 2006 she began to acquire and exhibit contemporary art of the Middle East. Her international loan exhibitions of historical Islamic art include The Legacy of Genghis Khan: Courtly Art and Culture in Western Asia, 1256–1353 (2003), Gifts of the Sultan: The Arts of Giving at the Islamic Courts (2011), and combining historical and contemporary art In the Fields of Empty Days: The Intersection of Past and Present in Iranian Art (2018). Currently, she is working on two shows for 2023, one historical and one contemporary.

Marianne Lamonaca, Director of the Humanities Edge, Florida International University; President, Board of Trustees, AAMC & AAMC Foundation A leader in the field of nonprofit arts management and curatorial affairs, she served as Associate Gallery Director and Chief Curator at Bard Graduate Center, NYC; Associate Director for Curatorial Affairs and Education at The Wolfsonian-FIU, Miami Beach; and Assistant Curator of Decorative Arts at the Brooklyn Museum. She has published and taught courses on twentieth-century decorative arts, design history, and curatorial practice.

She holds an MA from Parsons The New School for Design and a BA from Sarah Lawrence College. Marianne is an affiliated fellow of the American Academy of Rome. She currently serves as President of the Board of Trustees of the Association of Art Museum Curators and AAMC Foundation.

Mary-Kay Lombino, The Deputy Director and Emily Hargroves Fisher ’57 and Richard B. Fisher Curator, The Frances Lehman Loeb Art Center, Vassar College; Conference Benefit Committee Co-Chair, AAMC & AAMC Foundation

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Lombino oversees the contemporary art and photography collections, exhibitions, and publications and provides leadership for organizational and long-range strategic planning at The Loeb. Prior to joining the staff at Vassar she served as Curator of Exhibitions at the University Art Museum, California State University, Long Beach, for six years, and Assistant Curator at the UCLA Hammer Museum for five years. Her recent exhibitions include Shape of Light: Defining Photographs from the Frances Lehman Loeb Art Center, Touch the Sky: Art and Astronomy, and The Polaroid Years: Instant Photography and Experimentation, among many others. She has also organized solo museum shows for numerous artists including Mark Dion, Inez Nathaniel Walker, Marco Maggi, Ken Price, Raquel Rabinovich, and Mungo Thomson. A member of the 2009 Center for Curatorial Leadership class, she has received fellowships from The Andy Warhol Foundation for the Visual Arts, Getty Foundation, and Mapplethorpe Foundation. Lombino is a member of the Engaged Pluralism: Inclusion, Belonging, and Community Building Through the Arts Committee at Vassar College and Co-Chair of this year’s AAMC Conference Benefit Committee.

Denise Markonish is the Senior Curator and Director of Exhibitions at MASS MoCA. Her exhibitions include Suffering from Realness; Trenton Doyle Hancock, Mind of the Mound: Critical Mass; Nick Cave: Until; Explode Every Day: An Inquiry into the Phenomena of Wonder; Teresita Fernández: As Above So Below; Oh, Canada; Nari Ward: Sub Mirage Lignum; These Days: Elegies for Modern Times; and Badlands: New Horizons in Landscape.

She edited the books Teresita Fernández: Wayfinding (DelMonico/Prestel) and Wonder: 50 Years of RISD Glass, and co-edited Sol LeWitt: 100 Views (Yale University Press). Previously, she was Curator at Artspace, New Haven, and the Fuller Museum, Brockton, MA. Markonish has taught at Williams College, Rhode Island School of Design, was a Visiting Curator at Artpace, San Antonio, and Haystack School of Craft, Deer Isle. She is currently working on Glenn Kaino: In the Light of a Shadow at MASS MoCA for spring 2021.

Panelist & Presenter Bios

Denise Markonish, Senior Curator and Director of Exhibitions, MASS MoCA

Dr. Porchia Moore, Department Head and Assistant Professor of Museum Studies, University of Florida Dr. Moore is a critical race scholar interrogating the role and function of race in museums and the cultural heritage sector. Her curatorial vision is to be a story catcher and abolitionist. She is the co-creator of The Visitors of Color Project. Dr. Moore speaks internationally on issues of race, equity, and inclusion. She presents regularly at museum conferences such as AAM, MCN, SEMC, and Museums and the Web. Dr. Moore has served on numerous museum and museum professionals boards and committees. She previously served as Inclusion Catalyst at the Columbia Museum of Art, where she also worked as consulting curator of African American Art for the Spoken rotating art gallery. She served as project advisor for MASS Action, was one of the founding architects for Museums and Race, and is Project Advisor and Regular Contributing Writer for Incluseum. She has partnered with museums across the nation on education, training, and workshops on race and anti-racism in museums. You can follow her on Twitter @PorchiaMuseM. Elizabeth Morrison, Senior Curator of Manuscripts, J. Paul Getty Museum; Vice President, Governance & Nominating, AAMC & AAMC Foundation Morrison received her PhD in the History of Art from Cornell University and began work at the Getty in 1996. During her 25 years there, she curated or co-curated numerous exhibitions including Imagining the Past in France, 1250–1500 (2010) and Book of Beasts: The Bestiary in the Medieval World (2018). The accompanying publications for both shows were finalists for the College Arts Association Award for Outstanding Exhibition Catalogue. She has published on both Flemish and French illumination and has served on the Boards of the International Center of Medieval Art and the Medieval Academy of America. She is currently the Vice President (Governance and Nominating) of the Association of Art Museum Curators. #AAMCOnline

Panelist & Presenter Bios

Enotie Ogbebor, Artist Enotie Ogbebor is a professional multidisciplinary artist. His practice includes painting, sculpture, music, and performance art. Enotie is considered an authority in Benin court art and history. He is a leading voice in the discourse and plays a very active role in the effort about the restitution of ancient Benin bronzes and artifacts, which are in the possession of foreign museums.

He was selected by the Great Benin Centenary Committee to show his works at the Oba of Benin Royal Art exhibitions in 1997, which was organized to commemorate the Centennial of the British Invasion of Benin Kingdom.

Enotie’s works can be found in numerous notable private and public institutions across the world. In 2016, Enotie set up Nosona Studios, a creative hub for fine artists in Benin and in 2018, Nosona Studios was selected as a vendor organization to the Smithsonian Institution in Washington, D.C. in the area of training to preserve old techniques. He also set up Edo Global Art Foundation, a platform for the development of multidisciplinary artists.

He is a steering committee member of the Benin Dialogue Group. He is currently collaborating with Sir David Adjaye OBE RA on the design of the Edo Museum for West African Arts (EMOWAA). He is also a director on the board of the Legacy Restoration Trust responsible for E.M.O.W.A.A. Mary-Kate O’Hare, Senior Vice President and Advisor, Art Advisory & Finance, Citi Private Bank; Board of Trustees, Vice President, Fundraising, AAMC & AAMC Foundation Mary-Kate O’Hare specializes in US 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, writing her dissertation on issues of masculinity in the work of John Singer Sargent. In 2010, she was the recipient of the Clinton Hill/Allen Tran Foundation Curatorial Innovation Grant, and in 2011, held a fellowship at the Clark Art Institute, where her research focused on an exhibition exploring mid-twentieth-century Brazilian art, music, architecture, and design. She has taught art history surveys and advanced seminars at Rutgers University and William Patterson University and is a regular guest speaker at Christie’s Education.

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Christina Olsen is the Director of the University of Michigan’s Museum of Art (UMMA) and also Co-Chair of the University of Michigan’s arts initiative. Before coming to Michigan, she served as the Class of 1956 Director at the Williams College Museum of Art. Olsen has more than 25 years of leadership experience in museums and foundations, including positions at the San Francisco Museum of Modern Art, J. Paul Getty Museum and Getty Foundation, and Portland Art Museum. She lectures frequently on the topic of the future of art museums, and the history and evolution of campus-based museums. Olsen has curated and produced many exhibitions and programs, including most recently Abstraction, Color, and Politics in the Early 1970s at UMMA. Olsen is on the Board of the Association of Art Museum Directors and has taught at the University of Pennsylvania and Williams College. She received a BA in the History of Art, with honors, from the University of Chicago, and an MA and PhD in Art History from the University of Pennsylvania.

Panelist & Presenter Bios

Christina Olsen, Director, University of Michigan Museum of Art

Dalila Orfali, Chief Curator and Director, National Fine Art Museum of Algiers For the last two decades, Dalia Orfali has been in charge of the National Museum Fine Arts’ collections, which includes paintings, sculptures, drawings, and an art library. She has participated in many ministry projects about patrimony and museugraphical questions including new museum studies, and renewing vision on national heritage questions. Orfali has been the head organizer of many exhibition programs inside Algeria and abroad, and has participated in the national museal inventory program.

She is also the author of several titles about Algerian history of arts and Algerian artists.

Filiz Çakır Phillip, Curator, Aga Khan Museum Filiz Çakır Phillip has been Curator at the Aga Khan Museum since 2013.

She holds a DPhil from the Institute of Art History at Freie Universität, Berlin. Dr. Çakır Phillip is a scholar and specialist in Islamic Art with extensive curatorial and research experience. She was instrumental in the opening of the Aga Khan Museum in 2014, which she joined from a position as Curator at the Museum für Islamische Kunst, Berlin. She was Senior Fellow at Excellence Cluster TOPOI and Research Fellow at both the Kunsthistorisches Institut in Florenz—Max-Planck-Institut and The Metropolitan Museum of Art. Dr. Çakır Phillip has curated numerous exhibitions and is the author of books, such as Enchanted Lines: Drawings from the Aga Khan Museum Collection (2014), Iranische Hieb-, Stich- und Schutzwaffen des 15. bis 19. Jahrhunderts (2016), and Arts of the East: Highlights of Islamic Art from the Bruschettini Collection (2017). #AAMCOnline

Panelist & Presenter Bios

Judith Pineiro, Executive Director, AAMC & AAMC Foundation Working in the visual arts for nearly 30 years, Pineiro is a recognized strategic leader capable of delivering a vision and has a proven track record of building up and strengthening organizations. Becoming Executive Director of AAMC & AAMC Foundation in 2014, she has increased funding and access, as well as raised the organization’s mission-driven profile. Additional senior-level roles include independent external affairs consultant for cultural sector clients; Director, Affordable Art Fair US; Associate Development Director, Institutional Advancement, Museum of Arts and Design; and Account Manager, Museum Services, Christie’s. Pineiro serves on the Board of ArtBridge Projects and ArtTable, the latter where she is also on the Executive Committee. She is a former Board member at New York Artists Equity Association; mentor in the Diversity in Arts Leadership program at Americans for the Arts; and juror for the NAEA, IMLS, and Brooklyn Arts Council. She is first-generation American, and first-generation college educated. Pineiro received an MA in Art History, BA in Art History, and BA in Journalism/Mass Media, all from Rutgers University.

Barbara Plankensteiner, Director, Museum am Rothenbaum— World Cultures and Arts (MARKK), Hamburg, Germany Plankensteiner has been Director of the Museum since 2017. Under her leadership, the museum initiated a repositioning and decolonization process that also led to a change of name. From 2015 to 2017 she was Frances and Benjamin Benenson Foundation Senior Curator of African Art at Yale University Art Gallery, New Haven, Connecticut. Before, at the Weltmuseum Wien, she served as Deputy Director, Chief Curator and Curator of the Africa collections where she had a decisive impact in the repositioning of the museum and the conceptualization of the new permanent collection. Her most well-known international exhibitions are Benin—Kings and Rituals: Court Arts from Nigeria, where she was lead curator and editor of the accompanying handbook, and African Lace. A History of Trade, Creativity and Fashion in Nigeria, which she co-curated and for which she co-edited the accompanying catalogue.

She has conducted research and publications on African art and material culture, history of ethnographic collections, and museum anthropology.

Plankensteiner is a co-founder of the Benin Dialogue and with Prince Gregory Akenzua the co-chair of its steering committee. One of it outcomes is the Digital Benin project.

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Heather leads strategy focused on supporting the advancement of contemporary art curators and artists across the country. In her nine years at the Foundation, she has expanded the curatorial portfolio from a single program (the Emily Hall Tremaine Exhibition Award) to a suite of programs, including AAMC’s Mentorship Program, and been instrumental in the launch of Artists Thrive, a national tool to assess and improve conditions for artists across the country. She serves on the Appalachia Funders Network Steering Committee, CAA’s Services to Artists Committee, and is Board President for the Bethel Education Foundation. Heather has a master’s degree in Public Administration from New York University and a bachelor’s degree in Arts Administration from the State University of New York at Fredonia.

Panelist & Presenter Bios

Heather Pontonio, Senior Program Director, Emily Hall Tremaine Foundation

Suhanya Raffel, Museum Director, M+ of West Kowloon Cultural District Authority Suhanya Raffel leads M+ as a whole and oversees all museum activities, including acquisitions, programming, collections care, development, research, institutional collaborations, and museum operations. She joined M+ as Executive Director in 2016 and was appointed Museum Director in 2019. Since joining M+, Suhanya has led the museum’s mission, broadening its international reach and championing its deep connection with its local community. Formerly, Suhanya was Deputy Director of the Art Gallery of New South Wales in Sydney from 2013 to 2016. She also held several positions, including Deputy Director of Curatorial at the Queensland Art Gallery/Gallery of Modern Art in Brisbane from 2002 to 2012, where she was instrumental in building the contemporary Asia Pacific collection and led its Asia Pacific Triennial of Contemporary Art. Suhanya is an ex-officio member of the M+ Board, a trustee of the Geoffrey Bawa Trust and the Lunuganga Trust in Sri Lanka, and a member of the Board of the International Committee for Museums and Collections of Modern Art. She was awarded the title of Chevalier in the Ordre des Arts et des Lettres by the French government in 2020.

Ciraj Rassool, Professor, Department of History, University of the Western Cape Rassool is a historian and public scholar who promotes a concept of the museum as a space of questioning rather than as a governmental space of collection, and advocates for a methodology of forensic museology, with the museum as location of social inquiry and restitution work.

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Panelist & Presenter Bios

Jolene Rickard, Associate Professor, Departments of History of Art and Art, and the Director of the American Indian and Indigenous Studies Program, Cornell University Jolene Rickard is an Associate Professor in the departments of History of Art and Art, and the Director of the American Indian and Indigenous Studies Program (AIISP) at Cornell University, Ithaca. Her research and artistic practice focus on contemporary Indigenous art, materiality, and ecocriticism with an emphasis on Haudenosaunee aesthetics. A selection of publications include: “Arts of Dispossession,” in From Tierra del Fuego to the Artic: Landscape Painting in the Americas, Art Gallery of Ontario (2015), The Emergence of Global Indigenous Art, Sakahán, National Gallery of Canada (2013), Visualizing Sovereignty in the Time of Biometric Sensors, and The South Atlantic Quarterly: Sovereignty, Indigeneity, and the Law, 110:2 (2011). Jolene is on the editorial board of American Art, the Otsego Institute and is part of the Initiative for Indigenous Futures (IIF). She co-curated two of the four inaugural exhibitions of the National Museum of the American Indian (2004–2014). Jolene is from the Tuscarora Nation, Turtle clan.

Jaclyn Roessel, President/Founder, Grownup Navajo Born and raised on the Navajo Nation, it is the wisdom of her homelands that shapes Jaclyn Roessel’s cosmovision. Experience as a museum professional, cultural arts producer, and curator confirmed her belief in the inherent power of utilizing cultural learning as a tool to engage and build stronger communities. Molded by her grandmothers, Jaclyn has fostered a praxis that utilizes Indigenous ways of knowing and decolonized methodologies as a catalyst to build cultural equity in organizations. Whether it is as the founder of her company, Grownup Navajo, in her poetic writings, or in her work as a cultural justice and equity consultant, Jaclyn is motivated by the pursuit of Indigenous excellence and the action to radically imagine futures where Native peoples’ lands and cultures are thriving, revered, and protected. She is a wife and mother and lives with her family in the Pueblo of Tamaya.

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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 (VMFA). Dr. Schertz received his BA in Classical Languages and Literature from the University of Chicago (1987) and his PhD in Classical Art and Archaeology from the University of Southern California (2004). In addition to his museum work, Dr. Schertz worked as an editor for the Israel Antiquities Authority and currently serves on the Executive Committee of the Association of Art Museum Curators.

At VMFA, Dr. Schertz curated the exhibition The Horse in Ancient Greek Art (2017), and has engaged in a number of research projects, including as the co-director of the Arch of Titus Digital Restoration Project and as co-director of the NEH-supported study of the Richmond Caligula, now published as New Studies on the Portrait of Caligula in the Virginia Museum of Fine Arts (Brill, 2020). He has also published on the Second Temple in Jerusalem in its Roman context, and is currently researching the history and significance of equestrian statues from the Marcus Aurelius statue in Rome to Kehinde Wiley’s Rumors of War at the VMFA. He is particularly interested in how new technologies can help us understand and interpret ancient art.

Panelist & Presenter Bios

Peter J. Schertz, Jack & Mary Frable Curator of Ancient Art, Virginia Museum of Fine Arts; Vice President, Advocacy

Jennelyn Tumalad, Independent Curator and Program Manager Jennelyn Tumalad is a program manager and independent curator passionate about work that is driven by empathy, community, and empowerment. She is currently the Program Specialist at the Center for Nonprofit Leadership at California Lutheran University and has worked at institutions across the US such as the J. Paul Getty Museum, Lucas Museum of Narrative Art, Museum of Modern Art, and the Whitney Museum of American Art. She received her bachelors in Art History and Interdisciplinary Visual Art at the University of Washington and completed her masters in the History of Art and Design at Pratt Institute. Alongside her work at museums and nonprofits, she is an advocate and organizer within the Filipinx American creative community. Her most recent contributions to the Filipinx American community have been her exhibitions Walking in the Sun at Human Resources, Los Angeles (May 2019), Trabaj/ho: Resistance of a Colonial Imprint at the Carnegie Art Museum Studio Gallery, Oxnard, CA (October 2019–January 2020), and Mahalaga at the Music Center, Los Angeles (October 2020). Jennelyn was born in the Philippines, raised in the Pacific Northwest, and is currently based in Oxnard, CA.

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Panelist & Presenter Bios

Mabel O. Wilson, Nancy and George Rupp Professor of Architecture, Planning and Preservation, Professor in African American and African Diasporic Studies, and Director of the Institute for Research in African American Studies, Columbia University Mabel O. Wilson is a Professor in Architecture and African American and African Diasporic Studies at Columbia University. She serves as the Director of the Institute for Research in African American Studies. She has authored Begin with the Past: Building the National Museum of African American History and Culture (2017), Negro Building: African Americans in the World of Fairs and Museums (2012), and the volume Race and Modern Architecture: From the Enlightenment to Today (2020), with Irene Cheng and Charles Davis. With her practice Studio &, she is a member of the architectural team that recently completed the Memorial to Enslaved African American Laborers at the University of Virginia.

Harichane Zoheir, Director, Musée du Bardo, Algerian Ministry of Culture Zoheir obtained his bachelor's degree from the University of Algiers (Institute of Archeology) in 1993 and a Masters in Quaternary Archeology and Human Evolution from the University Rovira i Virgili, Tarragona, Spain in 2006. His work focused on Archaeo-Stratigraphy and Geographic Information System (GIS) applied to the Oldowayan Site of El-Kherba in Eastern Algeria as well as a magister in 2021 in prehistory whose subject was the study of the spatial distribution of Oldowayen site of Ain Hanech. He is currently the Director of the National Bardo Museum (Museum of Prehistory and Ethnography) and associate researcher at the National Center for Prehistoric Anthropological and Historical Research, Algiers.

As a researcher, he specializes in Spatial Archeology and Archaeostratigraphy, Geographic Information Systems (GIS) and new technologies applied to archeology as well as the methods and techniques of field recording of data on archaeological sites from the Pleistocene. He is currently working on several research projects such as the oldest human presence in North Africa directed by Prof. Sahnouni Mohamed, a project on the adaptation and behavior of Homo erectus from the Tighennif site, Mascara, Algeria, also directed

by Prof. Sahnouni Mohamed, as well as a research project on the settlement of the Algerian west coast from prehistoric times to the 12th century directed

by Prof. Derradji Abdelkader.

His field of work mainly concerns the archaeostratigraphic aspects of Prehistoric sites. He uses archaeostratigraphy and spatial analysis, or the study of temporality (diachrony and synchrony), as a basis to characterize distributions as well as anthropogenic accumulations. The combination of intra-site and inter-site aspects provides a better understanding of mobility and resource management strategies in the context of Pleistocene human groups.

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Panelist & Presenter Bios

J’ai obtenu mon diplôme de licence de l'Université d’Alger (Institut d’Archéologie) en 1993 et un Master en Archéologie du Quaternaire et Evolution Humaine de l’Université Rovira i Virgili, Tarragona, Espagne en 2006.

Mon travail a porté sur l’Archéo-Stratigraphie et Système d’Information Géographique (SIG) Appliqués au Site Oldowayen d’El-Kherba, Algérie, Orientale ainsi qu’un magister en 2021 en préhistoire et qui avait pour sujet l’étude de la répartition spatiale du site Oldowayen d’Ain Hanech. Je suis actuellement directeur du Musée National du Bardo (Musée de Préhistoire et d’ethnographie) et chercheur associé au Centre National de Recherches Préhistoriques Anthropologiques et Historiques Alger.

En tant que chercheur, je me suis spécialisé en Archéologie spatiale et archéostratigraphie, Systèmes d’informations géographiques (GIS) et nouvelles technologies appliquées à l’archéologie ainsi que les méthodes et techniques d’enregistrement sur le terrain des données sur des sites archéologiques du Pléistocène. Je travaille actuellement sur plusieurs projets de recherche telle que la plus ancienne présence humaine en Afrique du Nord, dirigé par le Pr. Sahnouni Mohamed, le projet adaptation et comportement des Homo erectus du site de Tighennif, Mascara, Algérie, dirigé aussi par le Pr.Sahnouni Mohamed ainsi que le projet de recherche sur, Le peuplement du littoral ouest algérien de la préhistoire jusqu’aux XII siècle, dirigé par le Pr. Derradji Abdelkader.

Mon domaine de travail porte principalement sur les aspects archéostratigraphiques des gisements Préhistoriques. J'utilise l'archéostratigraphie et l’analyse spatiale, ou l'étude de la temporalité (diachronie et synchronie), comme base pour caractériser les répartitions ainsi que les accumulations anthropiques. La combinaison des aspects intra-site et inter-site permet de mieux comprendre les stratégies de mobilité et de gestion des ressources dans le contexte des groupes humains du Pléistocène.

Diva Zumaya, Assistant Curator in the Department of European Painting and Sculpture, Los Angeles County Museum of Art Zumaya received her PhD in 2018 from the University of California, Santa Barbara. Diva’s curatorial practice challenges dominant narratives of European art history by casting Europe in global and colonial contexts.

Prior to joining LACMA as the Wallis Annenberg Curatorial Fellow in 2018, Diva curated a number of exhibitions including co-curating the 2017 PST LA/LA exhibition Sacred Art in the Age of Contact: Chumash and Latin American Traditions in Santa Barbara. At LACMA, Diva is curating an exhibition that assembles a fictive seventeenth-century Dutch collector’s cabinet. This exhibition will critically reconsider how early modern Dutch collectors ordered the world, asserting judgments on the value of natural materials, forms of labor, forms of craftsmanship, and people, while codifying European and Dutch identities.

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manuela.well-off-man@iaia.edu

AAMC & AAMC Foundation Leadership

2021 AAMC & AAMC Foundation Board of Trustees A sincere thank-you to our Board for their leadership and dedication.

Executive Committee Beth Citron Artistic Director, Terrain.art and Independent Curator Vice President, Finance & Audit

Michelle Jacques Head of Exhibitions & Collections/Chief Curator, Remai Modern Vice President, Inclusion & Outreach

Marianne Lamonaca Director of the Humanities Edge, Florida International University

Elizabeth Morrison Senior Curator of Manuscripts, J. Paul Getty Museum

President, Board of Trustees

Vice President, Governance & Nominating

Mary-Kate O’Hare Senior Vice President and Advisor, Art Advisory & Finance, Citi Private Bank

Peter Schertz Jack and Mary Ann Frable Curator of Ancient Art, Virginia Museum of Fine Art

Vice President, Fundraising

Vice President, Advocacy

Trustees at Large

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Sharon Matt Atkins Deputy Director for Art, Brooklyn Museum

Myrtis Bedolla Founding Director, Galerie Myrtis

Daniel Belasco Executive Director, Al Held Foundation

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

Wendy Chang Director, Rennie Collection

Jane Cohan Partner, James Cohan

José Carlos Diaz Chief Curator, The Andy Warhol Museum

William C. Gautreaux Managing Partner, MLP Holdings LLC

Madhuvanti Ghose Alsdorf Associate Curator of Indian, Southeast Asian, and Himalayan Art, Arts of Asia, Art Institute of Chicago

Lynda Roscoe Hartigan Deputy Director for Collections & Research & Chief Innovation Officer, Royal Ontario Museum

Soyoung Lee Chief Curator, Harvard Art Museums

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

Filiz Çakır Philip Curator, Aga Khan Museum

Emily Kernan Rafferty President Emerita, The Metropolitan Museum of Art

E. Carmen Ramos Acting Chief Curator and Curator of Latinx Art, Smithsonian American Art Museum

Anne Collins Smith Curator of Collections, Spelman College Museum of Art

Juliet Sorce Senior Vice President, Resnicow and Associates

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

AAMC & AAMC Foundation Leadership

Trustees at Large cont.

Emeriti Trustee / Past Presidents Christa Clarke Independent Curator and Affiliate, Hutchins Center for African & African American Research, Harvard University

Elizabeth W. Easton Co-Founder and Director, Center for Curatorial Leadership

Carol S. Eliel Senior Curator of Modern Art, Los Angeles County Museum of Art

Helen C. Evans Former Mary and Michael Jaharis Curator of Byzantine Art, The Metropolitan Museum of Art

Emily Ballew Neff Executive Director, Memphis Brooks Museum of Art

John B. Ravenal Former Director, deCordova Sculpture Park and Museum

George T. M. Shackelford Deputy Director, Kimbell Art Museum

Gary Tinterow Director, The Museum of Fine Arts, Houston

Ex-Officio John B. Koegel Founder, and Lawyer, The Koegel Group LLP

Judith Pineiro Executive Director, AAMC & AAMC Foundation

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2021 Aamc & Aamc Foundation Committees

2021 AAMC & AAMC Foundation Committees We are grateful to our committees for their volunteer service to our work.

Awards For Excellence Chair José Carlos Diaz Chief Curator, The Andy Warhol Museum Chair

Conference Benefit Committee Mary Hannah Byers Senior Director, Sotheby’s Advisory Luis Croquer Independent Curator Mary-Kay Lombino Deputy Director and the Emily Hargroves Fisher ’57 and Richard B. Fisher Curator, Frances Lehman Loeb Art Center, Vassar College Co-Chair

Beth Citron Artistic Director, Terrain.art and Independent Curator Board of Trustees, Co-Chair

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

Amy G. Poster Consulting Curator, Asian Art, Museum of Fine Arts, Houston and Curator Emerita, Brooklyn Museum

Finance & Audit Board Committee Beth Citron Artistic Director, Terrain.art and Independent Curator

Michelle Jacques Head of Exhibitions & Collections / Chief Curator, Remai Modern

Vice President, Finance & Audit, Chair

Vice President, Inclusion & Outreach

Marianne Lamonaca Director of the Humanities Edge, Florida International University

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

President, Board of Trustees

Vice President, Governance & Nominating

Mary-Kate O’Hare Senior Vice President and Advisor, Art Advisory & Finance, Citi Private Bank

Peter Schertz Jack and Mary Ann Frable Curator of Ancient Art, Virginia Museum of Fine Arts

Vice President, Fundraising

Vice President, Advocacy

Fundraising Committee Daniel Belasco Executive Director, Al Held Foundation Wendy Chang Director, Rennie Collection

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Mary-Kate O’Hare Senior Vice President and Advisor, Art Advisory & Finance, Citi Private Bank Vice President, Fundraising, Chair

Tricia Laughlin Bloom Curator of American Art, The Newark Museum of Art Emily Lenz Director and Partner, D. Wigmore Fine Art, Inc. Jamaal B. Sheats Director and Curator of Galleries, Assistant Professor of Art, Carl Van Vechten Art Gallery at Fisk University

Tobi Bruce Director, Exhibitions and Collections, and Senior Curator, Art Gallery of Hamilton Board of Trustees

C. Griffith Mann Michel David-Weill Curator in Charge, Department of Medieval Art and The Cloisters, The Metropolitan Museum of Art Board of Trustees

Emily Kernan Rafferty President Emerita, The Metropolitan Museum of Art Board of Trustees

Christa Clarke Independent Curator and Affiliate, Hutchins Center for African & African American Research, Harvard University Past President, Trustee Emerita, Co-Chair

Elizabeth Morrison Senior Curator of Manuscripts, J. Paul Getty Museum Board of Trustees, Vice President, Governance & Nominating, Co-Chair

Anne Collins Smith Curator of Collections, Spelman College Museum of Art Board of Trustees

2021 Aamc & Aamc Foundation Committees

Governance & Nominating Board Committee

Membership Committee Sharon Matt Atkins Deputy Director for Art, Brooklyn Museum

Natasha Becker Curator of African Art, de Young Museum

Board of Trustees, Co-Chair

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

Amanda Coulson Executive Director, National Art Gallery of The Bahamas

Dejay Duckett Director of Curatorial Services, The African American Museum in Philadelphia

Adriana Gallegos Carrión Chief Curator, Museo Arocena

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

Gean Moreno Curator of Programs, Institute of Contemporary Art, Miami

Co-Chair

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

Laurence Schmidlin Curator, Musée cantonal des Beaux-Arts

Eve Schillo Assistant Curator, Wallis Annenberg Photography Department, Los Angeles County Museum of Art Haema Sivanesan Curator, Special Projects, Art Gallery of Greater Victoria

Anne Collins Smith Curator of Collections, Spelman College Museum of Art Board of Trustees

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Gratitude

Gratitude We share our deepest gratitude to our most dedicated supporters, bolstering our work and reach every day through their generosity.

Listings as of March 15, 2021

Foundation & Government Al Held Foundation

The Iris Foundation

The Andrew W. Mellon Foundation

The Jay DeFeo Foundation

Art Fund David L. Klein Foundation

The Milton & Sally Avery Arts Foundation

Emily Hall Tremaine Foundation

National Endowment for the Arts

George Rickey Foundation

Samuel H. Kress Foundation

Getty Foundation

Terra Foundation for American Art

Helen Frankenthaler Foundation Henry Luce Foundation Corporate SPONSORS

Sotheby’s PATRONS

Christie’s Lucidea

Leon Levy Foundation

Trust for Mutual Understanding

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PATRONS

FRIEND CIRCLE ($2,500 ANNUALLY)

Barbara Futter

William R. Anderson

Catherine Futter

Marianne Lamonaca

PRESIDENT’S CIRCLE ($5,000 ANNUALLY)

Marjorie & Don Lenz

Peter Barnet BENEFACTOR CIRCLE ($2,500 ANNUALLY)

Graham C. Boettcher James & Jane Cohan Bill Gautreaux Madhuvanti Ghose

Gratitude

Individual Donors

C. Griffith Mann Monique Meloche Vivian Pfeiffer Jack Shainman Isabel Stainow Wilcox

Barnett & Shirley Helzberg Jr. Emily Lenz John B. Ravenal Ann Yonemura Sustaining Members ($750 level of membership) Norman Kleeblatt

Dita Amory

Wolfram Koeppe

Stephanie Barron

Marianne Lamonaca

Richard Benefield

Soyoung Lee

Christa Clarke

Annemarie Sawkins

Charles Duncan

Mark Scala

Carol S. Eliel

George T.M. Shackelford

Catherine L. Futter

Julie Walsh

Gloria Groom

John Wilson

Cody Hartley

Ann Yonemura

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Lynne Ambrosini

Gratitude

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

Listings as of January 1, 2020–March 15, 2021

Sharona Adamowicz-Clements

Helen C. Evans

Elisabeth Agro

Gina Facchini

Noor Ale

Diana Fane

Lynne D. Ambrosini

Taraneh Fazeli

Shannon Anderson

Linda S. Ferber

Krishna Aniel

Alison Ferris

Ellen Avril

Dominique Fontaine

Carmen Bambach

Kathleen A. Foster

Rene Paul Barilleaux

Corinna Ghaznavi

Emily Bauman

Anne Collins Goodyear & Frank H. Goodyear

Daniel Belasco Maggie Bell Susan Bergh Jenny Bevill Denise Birkhofer Gretchen Boyum Leah Bright Laura Camerlengo Caroline Campbell Taina Caragol Jasmine Chohan Christa Clarke Sarah D. Coffin Deborah Cullen-Morales Jens Daehner Maria F.P. Saffiotti Dale Jill D’Alessandro Maggie Dethloff #AAMCOnline

Sula Douglas-Folkes Whitney Dunhauser Carol Eckert

Jared Goss Alison de Lima Greene Diana Greenwold Gloria Groom Rachel Groves Sophie Hackett Cody Hartley Gita Hashemi Heide Hatry Christina Hellmich Erika Holum Michael J. Horvitz Paul Howard Kate Irvin Barbara L. Jones Kelly Kerr Sarah B. Kianovsky Emily-Jane Kirwin Kelly Kivland Betty Krulik

Gratitude

Shelley Langdale

Ricardo J. Reyes III

Ellen Lee

Gloria Williams Sander

Victory Gold Levi

Rachel Saunders

Lalaine Little

Mark Scala

Frances Loeffler

Jean Sharf

Emily Lomax

Josephine Shea

Ellen Lupton

Marianna S. Simpson

Kathryn Lynch

Penelope Smart

Barbara J. MacAdam

Amy Smith

Rita Macedo

A. Philip Spahr

Lisa Mark

Staci Steinberger

Elham Puriya Mehr

Davira S. Taragin

Carmen Melián

Belinda Tate

Ali Merali

Martha P. Tedeschi

Joan R. Mertens

Jeffrey Terreson

Mary Morton

Peeta Tinay

Christiana Myers

Gary Tinterow

Emily Schuchardt Navratil

Florence Müller Vejvoda

Barbara Nessim

Roslyn A. Walker

Azmara Nigusse

Ben Whine

Jennifer Olivarez

Karol S. Wight

Narendra Pachkhede

Katie Willatts

Amanda Pajak

Jay Wilson

Constantine Petridis Julie Pierotti Amy Poster Selene Preciado Jennifer Casler Price Brooke Kamin Rapaport Mary Reid

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Marshall Price

Gratitude

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

Current members as of March 15, 2021

Addison Gallery of American Art

El Paso Museum of Art

Akron Art Museum

The Fralin Museum of Art at the University of Virginia

Albright Knox Art Gallery Amon Carter Museum of American Art The Andy Warhol Museum Arkansas Art Center Art Gallery of Greater Victoria August Wilson African American Cultural Center The Baltimore Museum of Art Bechtler Museum of Modern Art Bemis Center for Contemporary Art Birmingham Museum of Art Blanton Museum of Art

The Frances Young Tang Teaching Museum and Art Gallery The Frick Pittsburgh Frist Art Museum Hammer Museum of Art Harvard Art Museums Herbert F. Johnson Museum of Art Hillwood Estate, Museum & Gardens Honolulu Museum of Art Hood Museum of Art J. Paul Getty Museum

Brooklyn Museum

Jane Voorhees Zimmerli Art Museum

Charles Hosmer Morse Museum of American Art

The Jewish Museum Kimbell Art Museum

Chazen Museum of Art, University of Wisconsin-Madison

Los Angeles County Museum of Art

Cincinnati Art Museum

Meadows Museum

The Cleveland Museum of Art Colby College Museum of Art Cornell Fine Arts Museum Corning Museum of Glass Currier Museum of Art David Owsley Museum of Art at Ball State University #AAMCOnline

deCordova Sculpture Park and Museum Delaware Art Museum Denver Art Museum

Mead Art Museum Memphis Brooks Museum of Art The Menil Collection The Metropolitan Museum of Art Michael C. Carlos Museum Mildred Lane Kemper Art Museum Minneapolis Institute of Art Mississippi Museum of Art Montreal Museum of Fine Arts/Musée des beaux-arts de Montréal Museum of Art, Rhode Island School of Design

Gratitude

Museum of Contemporary Art Jacksonville

Swiss Institute

Museum of Fine Arts, Boston

Virginia Museum of Fine Arts

The Museum of Fine Arts, Houston The Museum of Modern Art Nasher Museum of Art Nasher Sculpture Center National Gallery of Canada National Palace Museum Nature Morte Art Limited

Toledo Museum of Art Wadsworth Atheneum Museum of Art Wellin Art Museum, Hamilton College Wexner Center for the Arts Whitney Museum of American Art Wichita Art Museum Williams College Museum of Art

The Nelson-Atkins Museum of Art

Winterthur Museum, Garden and Library

Newfields

Yale University Art Gallery

North Carolina Museum of Art Ontario Association of Art Galleries (OAAG) The Palmer Museum of Art Phi Foundation for Contemporary Art Picker Art Gallery, Colgate University Princeton University Art Museum Saint Louis Art Museum San Antonio Museum of Art San Diego Museum of Art San Francisco Museum of Modern Art Santa Barbara Museum of Art Scottsdale Museum of Contemporary Art Seattle Art Museum Smithsonian American Art Museum Sterling & Francine Clark Art Institute The Studio Museum in Harlem

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Solomon R. Guggenheim Museum

Gratitude

empowering museums in a changing world

themuseumbox.com

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2022 Art Curators Conference Save the Date!

April 30–May 4 2022 New York City In-Person & Virtual Theme: Sustainability & Revitalization

Association Association of Art of Museum Curators & Curators Art Museum AAMC Foundation & AAMC Foundation

Association of Art Museum Curators & AAMC Foundation