2023 Art Curators Conference Catalog

Art Curators Conference

May 6–May 9, 2023

NYC and Virtual #AAMCNYC

Association of Art Museum Curators (AAMC) & AAMC Foundation

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.

produced by Luce Productions.

AAMC offices are in New York, a location situated upon the unceded, seized territory of the Lenape and Canarsie peoples, and benefitted 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 here today.

AAMC is 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.

Thank you for making space to attend the Conference.

A Letter from Our Board President & Executive Director

Welcome to the 2023 Art Curators Conference.

Since our founding in 2001, we have been the leading voice in the support of nonprofit art curators. Now in the twenty-third year of our vital work, it is time for us to consider how we can further uplift curators in all disciplines, from all backgrounds, and in all regions around the globe. At the end of 2022, after reflecting upon where we have been, where we are now, and where we want to be in the future, the organization introduced a strategic plan that will ensure our service, identity, and resiliency remain valued and, most importantly, relevant.

We are thrilled to once again offer ways for our audience and speakers to connect in person and virtually, creating a more equitable space for convening the curatorial sector. Centered on the theme of Empowerment, this Conference brings together a myriad of voices, places, and efforts to investigate our theme, forging a way forward rather than conducting a state of the field. Through this Conference and across all our events, programs, and fellowships, we seek not to live with the status quo but rather lead ways ahead, working together toward a vibrant, vital, and inclusive visual arts world.

It is with deep appreciation that we express our gratitude to our sponsors (listed by level, alphabetically): Schoelkopf Gallery, Bard Graduate Center, Sotheby’s, Hauser & Wirth, Lehmann Maupin, R & Company, Freeman’s Auction, James Howell Foundation, UOVO, Anthony Meier, Armstrong Fine Art Services, Betty Krulik Fine Art, DIETL International, International Society of Appraisers, Jonathan Boos, Kasmin Gallery, Masterpiece International, Miles McEnery Gallery, Shannon’s Fine Art Auctioneers, Absolute Museum & Gallery Products Ltd., Cristin Tierney Gallery, Debra Force Fine Art, Hutchinson Modern & Contemporary, Jessica Silverman Gallery, and TEFAF; and individual donors (listed by level, alphabetically): Evelyn and David Lasry, María Eugenia Maury, El Museo del Barrio & Karla Harwich, El Museo del Barrio, Rosa Lowinger, and Cole Rogers. We are also grateful to our Benefit Committee, AAMC & AAMC Foundation Board of Trustees and staff, and Conference Producer Lucy Lydon for making this event possible.

With best wishes and gratitude,

Michelle Jacques

Chief

President,

&

Head of Exhibitions

Collections/

Curator, Remai Modern;

Board of Trustees, AAMC & AAMC Foundation

Judith Pineiro Executive Director, AAMC & AAMC Foundation

Art Curators Conference Code of Conduct

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

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

Harassment includes, but is not limited to:

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

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

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

• Sustained disruption of talks or other events

• Physical contact without consent or after a request to stop

• Unwelcome sexual attention

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

• Collection or distribution of harassing photography or recordings

• Threats or acts of violence

• Advocating for, or encouraging, any of the above behavior

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

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

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

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

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

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

• Discussion of sensitive topics

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

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 through the Conference platform, Socio.

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 the American Alliance of Museums, which was based on the Geek Feminism wiki and uses language with permission from the Nonprofit Technology Conference’s Code of Conduct. 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.

Conference Supporters

Thank you to the following for their support and enthusiasm for the 2023

Sponsors SESSION

PARTNER

ROUNDTABLES

SESSION FURNITURE DONATED BY R & COMPANY

Art Curators Conference

Individual Donors

PRESIDENT’S

Evelyn and David Lasry

PATRON

María Eugenia Maury, El Museo del & Karla Harwich, El Museo del Barrio

Rosa Lowinger

Cole Rogers

Benefit Committee

Laura Bardier, Executive Director, James Howell Foundation

Katherine Brinson, Daskalopoulos Curator, Contemporary Art, Solomon R. Guggenheim Museum

Janis Gardner Cecil, President, JCG Fine Art LLC

Lauren Haynes, Director of Curatorial Affairs and Programs, Queens Museum; Vice President, Fundraising, AAMC & AAMC Foundation

Isabella Hutchinson, Director and Founder, Hutchinson Modern & Contemporary Betty Krulik, Owner, Betty Krulik Fine Art

Marianne Lamonaca, Director of the Humanities Edge, Florida International University; Past President, Trustee Emerita, ex-officio, AAMC & AAMC Foundation

Alexis Lowry, Curator, Dia Art Foundation; Chair

Mary Kate O’Hare, Director and Senior Art Advisor, Citi Private Bank, Art Advisory & Finance; Vice President, Finance & Audit, AAMC & AAMC Foundation

Conference Producer

Lucy Lydon, Luce Productions

AAMC & AAMC Foundation Team

Judith Pineiro, Executive Director

Laura Hillegas, Development Manager

Emma Huneck, Program Manager

Cassidy Tierney, Administrator

Exhibitions at BGC

Staging the Table in Europe

1500–1800

Curated by Deborah L. Krohn

On view through July 9, 2023

Shaped by the Loom: Weaving Worlds in the American Southwest

Curated by Hadley Jensen

On view through July 9, 2023

SIGHTLINES on

Peace, Power, and Prestige: Metal Arts in Africa

Curated by Drew Thompson

September 29–December 31, 2023

Sonia Delaunay: Living Art

Curated by Waleria Dorogova and Laura Microulis

February 23–July 7, 2024

Sèvres Extraordinaire!

Sculpture from 1740 until Today

Curated by Charlotte Vignon, Tamara Préaud, and Susan Weber

September 20, 2024–December 29, 2024

bgc.bard.edu/exhibitions

Beyond Statements Revisited

Online Webinar, Free Registration

Wednesdays June 14, 21, 28, 11AM EST

The Art Fund and AAMC Foundation are honored to produce Beyond Statements Revisited series, a follow-up to the 2020 three-part webinar. Individual sessions will assess the commitment to and advancement of diversity, equity, access, and inclusion in the arts today.

Featuring experts in the fields of visual arts, nonprofits, and DEAIB, Beyond Statements Revisited welcomes pre-registration, which allows the public to submit a question to the speakers in advance. The program will also be live-streamed on AAMC’s YouTube channel, where videos of the first three sessions are also available.

Visit www.artcurators.org to register.

PART I

Wednesday, June 14

Monica O Montgomery, Cultural Consultant + Independent Curator, Co-Founder Museum Hue, Moderator

Sepake Angiama, Artistic Director, Iniva, Speaker

Sandra Shakespeare, Museum and Heritage Consultant, Speaker

Charlotte Holmes, National Trust, Speaker

PART II

Wednesday, June 21

Tanya Odom, AAMC Board member, Moderator

Ali Jafarey, Equality, Diversity and Inclusion Lead (workforce) in the People and Change Team, V&A, Speaker

Reyahn King, Consultant, Facilitator and Executive Coach, Speaker

Virajita Singh, Chief Diversity & Inclusion Officer, Minneapolis Institute of Arts, Speaker

ASSOCIATION OF ART MUSEUM CURATORS

PART III

Wednesday, June 28

Rachael Browning, Deputy Director of Programme and Policy, Art Fund, Moderator

Errol Francis, Artistic Director and CEO, Culture&, Speaker

Deborah Cullen-Morales, Program Officer, Arts and Culture Office, Mellon Foundation, Speaker

Mia Locks, Co-Founder and Co-Director, Museums Moving Forward, Speaker

susan pui san lok, Artist, Speaker

Awards for Excellence

The Awards for Excellence, highly esteemed by art curators everywhere, celebrates achievements in creating connections and fostering engagement between nonprofit art organizations and communities; pushing boundaries with new approaches and perspectives in research, presentation, and access; and addressing social justice, activism, diversity, access, equity, and inclusion. Encompassing digital, print, and in-person curatorial-led projects, AAMC is proud to present the 2023 Awards for Excellence honorees.

Digital Exhibition

Joseph Urban: Unlocking an Art Deco Bedroom, Cincinnati Art Museum

Lead Curator

Amy Dehan

Curator of Decorative Arts and Design, Cincinnati Art Museum

Additional Project Leads

Emily Holthrop

Director of Learning & Interpretation, Cincinnati Art Museum

Doug Hovekamp

Executive Creative Director, MOJO PSG

Talia Shiroma

Curatorial Assistant, Arts of the Americas and Europe, Brooklyn Museum

Digital Program

Unpacking the Universe: The Making of an Exhibition, Los Angeles County Museum of Art

Lead Curators

Julia Burtenshaw

Associate Curator, Los Angeles County Museum of Art

Diana Magaloni

Deputy Director, Program Director, and Dr. Virginia Fields Curator of the Art of the Ancient Americas, Suzanne D. Booth and David G. Booth Conservation Center Director, Los Angeles County Museum of Art

Additional Project Leads

Alexa Schultz

Screenwriter and Director, Los Angeles County Museum of Art

Agnes Stauber

VP, Digital Content and Strategy, Academy Museum of Motion Pictures

Digital Publication

Masterpieces from the Clowes Collection: Paintings, Indianapolis Museum of Art

Lead Curators

Jacquelyn Coutre

Eleanor Wood Prince Associate Curator, Art Institute of Chicago

Amanda Dotseth

Linda P. and William A. Custard Director, Meadows Museum, Southern Methodist University

Annette Schlagenhauff

Curator of European Art, 1800–1945, Indianapolis Museum of Art

Kjell Wangensteen

Associate Curator of American Art, Indianapolis Museum of Art

Additional Project Lead

Dylan Jensen

Editor and Manager of Publications, Indianapolis Museum of Art

Non-Catalog Publication

El Corazón Aúlla (Heart Howls): Latin American Feminist Performance in Revolt, The Shelley & Donald Rubin Foundation

Lead Curators

George Bolster Curator, The Shelley & Donald Rubin Foundation

Tatiana Muñoz Curator, The Shelley & Donald Rubin Foundation

Additional Project Lead

Anjuli Nanda Diamond Executive Director, The Shelley & Donald Rubin Foundation

Operating Budget up to $10 Million: Exhibition/Installation

Myths of the West: Narrating Stories of the Land and People through Wichita Art Collections , Ulrich Museum of Art, Wichita State University

Lead Curator

Ksenya Gurshtein

Curator of Modern and Contemporary Art, Ulrich Museum of Art, Wichita State University

Additional Project Lead

Josh Cornett

Mary Joan Waid/Steve Overstreet Curatorial Intern, Ulrich Museum of Art, Wichita State University

Operating Budget of $10–$30 Million: Exhibition/Installation

Tie—Awarded Projects

Storied Objects: Métis Art in Relation, Remai Modern

Lead Curators

Tarah Hogue

Curator (Indigenous Art), Remai Modern

Sherry Farrell Racette

Faculty of Media, Art, and Performance, University of Regina

And

Talking Back to Power: Projects by Aram Han Sifuentes, Skirball Cultural Center

Lead Curator

Laura Mart

Associate Curator, Skirball Cultural Center

Additional Project Lead

Aram Han Sifuentes Artist

Operating Budget $30+ Million: Exhibition/Installation

On This Ground: Being and Belonging in America, Peabody Essex Museum

Lead Curators

Sarah Chasse

Associate Curator, Peabody Essex Museum

Karen Kramer

The Stuart W. and Elizabeth F. Pratt Curator of Native American and Oceanic Art and Culture, Peabody Essex Museum

Lan Morgan

Assistant Curator, Peabody Essex Museum

Additional Project Leads

Rebecca Bednarz

Editor for Curatorial Initiatives, Peabody Essex Museum

Mollie Denhard

Exhibition Preparator, Peabody Essex Museum

Adrienne Lalli Hills

Independent Consultant

Caitlin Lowrie

Senior Manager, Exhibition Planning, Isabella Stewart Gardner Museum

Operating Budget up to $10 Million: Publication

David Seibert

Exhibition Designer, Peabody

Essex Museum

Kathryn Smith

Associate Registrar, Peabody Essex Museum

Jackie Traynor

Exhibition Graphic Designer, Peabody Essex Museum

Chip Van Dyke

Associate Director of Media Production, Peabody Essex Museum

African Modernism in America, Fisk University Galleries

Lead Curators

Perrin Lathrop

Assistant Curator of African Art, Princeton University Art Museum

Jamaal Sheats

Director and Curator, Fisk University Galleries

Additional Project Lead

Nikoo Paydar

Independent Curator, former Associate Curator, Fisk University Galleries

Operating Budget of $10–$30 million: Publication

Threads of Power: Lace from the Textilmuseum St. Gallen, Bard Graduate Center

Lead Curators

Emma Cormack

Associate Curator, Bard Graduate Center

Michele Majer

Professor Emerita, Bard Graduate Center

Operating Budget $30+ Million: Publication

Regeneration: Black Cinema 1898–1971, Academy Museum of Motion Pictures

Lead Curators

Doris Berger

Vice President, Curatorial Affairs, Academy Museum of Motion Pictures

Rhea Combs

Director, Curatorial Affairs, Smithsonian National Portrait Gallery

Photo: Halkin/Mason Photography. Harold Ancart, Untitled, 2019. Niccolò Spirito, OVETTO N.3, 2018.

Featured

Tasneem Zakaria Mehta, Director, Dr. Bhau Daji Lad Museum

Tasneem Zakaria Mehta is an art historian, writer, and conservation activist who studied Fine Arts and Textile Design at the Sir J. J. School of Art, Mumbai. She received a BA in Political Theory at Columbia University, New York, and a Masters in English Literature, Delhi University. She researched towards a PhD on Indian art history at the Jawaharlal Nehru University, New Delhi. She resides in Mumbai, India.

Mehta pioneered the revival and restoration of several of Mumbai’s important cultural sites. She conceptualized, curated, designed, and implemented the restoration and revitalization of Dr. Bhau Daji Lad Museum, which won UNESCO’s 2005 Asia Pacific Award of Excellence. As Managing Trustee and Honorary Director, from 2003 to the present, she curates the exhibition and education programmes of the Museum, and Chairs the Academic Council of the PG Diploma in Indian Art History. She oversees the Indian National Trust for Art and Cultural Heritage (INTACH) conservation lab at the Museum. Mehta has curated 17 solo exhibitions of contemporary Indian artists and four group exhibitions, besides exhibitions on the collection. She has presented a total of 85 exhibitions in collaboration with national and international institutions over the past 15 years at the Museum.

Mehta was Vice Chairman of INTACH, the Indian National Trust for Art and Cultural Heritage, from 2010 to 2017. As Convenor of the Mumbai chapter of INTACH from 1996 to 2018, she prepared the Management Plan for Elephanta World Heritage Site (WHS), the WHS submission to UNESCO for Chhatrapati Shivaji Maharaj Terminus (erstwhile Victoria Terminus); and she has led several important restoration projects in Mumbai.

Mehta has served as an advisor to many of the leading cultural institutions in South Asia. These include the Bangladesh government on the Bangabandhu Museum, Dacca, appointed by the Prime Minister’s Office, 2015; Advisory Board of the National Gallery of Modern Art (NGMA), Mumbai, from 1997 to 2015; the NGMA National Advisory Council from 2009 to 2011; and the National Institute of Design, Ahmedabad, 2003–2005 and 2011–2014. Mehta has lectured widely at national and international institutions and conferences, including Mumbai University and Jawaharlal Nehru University, Delhi. Mehta delivered the plenary keynote at the Global Museums Summit at the Deutsche Museum, Munich, in October 2022.

Angie Brice Thomas, Founder & CEO, Brice Consulting Group, LLC

As the Founder and CEO of Brice Consulting Group LLC, Angie Brice Thomas brings over 15 years of expertise in diversity, equity, access, and inclusion (DEAI) work; anti-racist pedagogy; executive coaching; and diversity recruitment strategy. Angie’s impact began as a 5th-grade science teacher, where she led her students to achieve historic academic gains, in addition to being tapped for the ESL Teacher of the Year Award. Next, Angie went on to become a senior leader at Teach For America (TFA) for a decade, where she led high-performing teams to recruit the largest and most diverse corps in TFA history. As the leading producer of top and diverse talent in the country, Angie has presented on her diversity recruitment expertise at the Harvard Graduate School of Education’s Annual Alumni of Color Conference. Since then, she’s coached scores of organizations and C-Suite-level executives—in nonprofit, for-profit, start-up, and academia spaces—to engage in DEAI dialogues and anti-racism work, attract top and diverse talent, build inclusive cultures, and bolster employee performance. Next, as a sociologist by training, Angie marries real-time DEAI theory and practice by applying her learnings from Columbia University Teachers College, where she completed her MA. Angie’s clients include the Solomon R. Guggenheim Museum and Foundation, the Whitney Museum of American Art, MoMA PS1, the Jewish Museum, Harvard University, The Robertson Center at Success Academies, The International Institute of New England, Burton Snowboards, the International Documentary Association, and Plenty. An avid reader and foodie, Angie lives with her hubby and two kiddos, in Brooklyn, NY.

Featured Speakers

Teresita Fernández, Artist

Photograph by Natalia Mantini

Teresita Fernández’s work is characterized by an expansive rethinking of what constitutes landscape: from the subterranean to the cosmic, from national borders, to the more elusive psychic landscapes we carry within. Fernández unravels the intimacies between matter, human beings, and locations, and her luminous work poetically challenges ideas about land and landscape by exposing the history of colonization and the inherent violence embedded in how we imagine and define place, and, by extension, one another. Questions of power, visibility, and erasure are important tenets of Fernández’s work, and she confronts these themes in subtle ways, insisting on intertwining beauty, the socio-political, the intimate, and the immense. Imbuing the landscape with an anthropomorphic sensibility, Fernández has said, “You look at the landscape, but the landscape also looks back at you; Landscape is more about what you don’t see than what you do see.”

Fernández is a MacArthur Foundation Fellow and the recipient of numerous awards, including a Creative Capital Award; Meridian Cultural Diplomacy Award; Guggenheim Fellowship; Louis Comfort Tiffany Biennial Award; American Academy of Rome Fellowship; and a National Endowment for the Arts Individual Artist’s Grant in Visual Arts. In 2011, she was appointed by President Barack Obama to serve on the U.S. Commission of Fine Arts. She is the first Latina to serve on the 100-year-old federal panel, which advises the president and Congress on national matters of design and aesthetics. In 2016, she conceived and directed the U.S. Latinx Arts Futures Symposium with the Ford Foundation, which brought together artists, curators, museum directors, and scholars from across the country to discuss modes of visibility within cultural institutions.

Her work has been exhibited internationally at The Museum of Modern Art, New York; San Francisco Museum of Modern Art; Philadelphia Museum of Art; Phoenix Art Museum; Pérez Art Museum Miami; Harvard University, Boston; Modern Art Museum of Fort Worth; Museum of Contemporary Art Cleveland; Centro de Arte Contemporáneo de Málaga; Museum of Fine Arts, Boston; Smithsonian Museum of American Art; Massachusetts Museum of Contemporary Art; and Castello di Rivoli, Turin, among others. Fernández has also created numerous large-scale public sculptures, including at the Brooklyn Academy of Music; New Orleans Museum of Art; Ford Foundation, NY; and Madison Square Park, NY. She lives and works in Brooklyn, NY.

Dr. Kenneth V. Hardy, President of the Eikenberg Academy for Social Justice, and Director of the Eikenberg Institute for Relationships

Dr. Kenneth V. Hardy is a Clinical and Organizational Consultant at the Eikenberg Institute for Relationships in New York, NY, where he also serves as Director. He provides racially focused trauma informed training, executive coaching, and consultation to a diverse network of individuals and organizations throughout the U.S. 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: Race, Class, and Gender ; and Teens Who Hurt: Clinical Strategies for Breaking the Cycle of Youth Violence. In addition to his consultation work, Dr. Hardy is a frequent conference speaker and has also appeared on ABC’s 20/20, NBC’s Dateline, PBS, and The Oprah Winfrey Show.

Conference Venue

Conference Check-In

Pick up your name tag and tote bag at Conference check-in to receive access to Conference sessions and registered events. Your name tag will act as your entry ticket to Conference sessions and events. The AAMC check-in staff can also help with any questions you might have, and will have extra face masks and hand sanitizer available. Check-in is in the lobby of the Prince George Ballroom for the duration of the Conference.

Nursing Room

A nursing room is available for all Conference attendees. Please find an AAMC staff member and they will assist you in accessing the room.

Health and Safety Information

New York City (NYC) is no longer requiring proof of vaccination or masking at large indoor gatherings. AAMC is adhering to all of the health and safety protocols as set by NYC and New York State (NYS). While the regulations may change, we are not requiring proof of vaccination or requiring masks to attend the Conference. Kindly note, this does not preclude any regulations set forth for travel or entering the U.S., these are only NYC and/or NYS regulations.

About the Prince George Ballroom

The Prince George Ballroom is owned and operated by Breaking Ground, a 501(c)(3) nonprofit that provides affordable housing for homeless and low-income New Yorkers. 100% of net proceeds from event rentals support this mission.

AAMC & AAMC Foundation are committed to prioritizing the health and safety of all Conference attendees and ensuring that the Conference is a safe and comfortable space for all. Attendees should feel free to be masked and social distance as they are comfortable. All AAMC staff at the Conference will be fully vaccinated. Hand sanitizer will be provided and will be made available throughout Conference venues, and we ask attendees to sanitize frequently.

Prince George Ballroom, 15 East 27th Street, New York, NY 10016

Venue Cleaning Protocols

• AAMC has exclusive use of the venue for the duration of the Conference—no other groups will have use of the space other than AAMC staff, Conference attendees, and venue and vendor staff executing the Conference.

• The Prince George Ballroom will sanitize high-touch surfaces using EPA-approved disinfectants and an electrostatic sanitizing sprayer before and after our event, including all door handles, handrails, and surfaces in bathroom/restroom facilities, among others. A complete sanitation of the venue will take place directly before our event.

• The Prince George Ballroom maintenance team will provide enhanced cleaning of high-touch surfaces multiple times during our event, with a special emphasis on restrooms.

• Alcohol-based hand sanitizer stations will be placed at the venue entrance and in additional locations throughout the venue.

• All Prince George Ballroom staff are fully vaccinated.

• The venue’s HVAC system uses MERV 13 filtration, which is the highest filtration available. The system actively circulates 100% outside air into each venue space throughout the event.

• Ultraviolet lights are installed at the perimeter of the main Conference event space, which help to continuously eliminate germs and viruses in the air throughout the event.

By registering, all in-person attendees agree to adhere to these requirements, and to any updated requirements as mandated by NYS, NYC, U.S., and/or our Conference venue. Each registrant agrees to not hold AAMC, AAMC Foundation, and the Conference venue liable if they come into contact with someone COVID positive or test positive for COVID after the Conference and any related events. For any questions about protocols, exemptions, or our health and safety procedures, please email Lucy.Lydon@artcurators.org.

Panels, Workshops & Talks

Keynotes & Special Addresses

Breakouts

Special Event

Break

Wednesday, April 19

Pre-Conference Webinar Panel

This webinar is included in Conference registration. A link to the webinar will be provided on Socio, the Conference platform.

12:00–1:15 PM ET

Panel: Trans-Regional Conversations on Indigenous Practices

The panel will bring together curators from diverse geographical and epistemic contexts whose work focuses on contemporary Indigenous artistic practices. The conversation will address how curatorial practices can address and present Indigenous perspectives in nuanced, activist, and non-tokenistic ways while grappling with systemic issues in the museum field, addressing host institutions’ needs and processes, building long-term sustainability opportunities, and developing community-based strategies for interpretation and engagement. The event will address common challenges and shared tools, amplifying the conversation among diverse curatorial locales while also considering the differences in institutional systems, research opportunities, and funding infrastructures.

MODERATOR

Ilaria Conti, Curator, American Federation of Arts

PANELISTS

Liisa-Rávná Finbog, Sámi Indigenous Scholar, Duojár, and Curator

Pablo José Ramírez , Curator and Cultural Theorist

Friday, May 5

AAMC & AAMC Foundation Board of Trustees Meeting

By invitation only. In-person-only event.

Private Event

Hosted by Sotheby’s.

By invitation only. In-person-only event.

Saturday, May 6

11:00 AM–1:00 PM ET

AAMC Foundation Mentorship Program Workshop

with nico wheadon, Art Advisor, Curator, Educator & Writer

By invitation only. In-person-only event.

4:00–6:00 PM ET

Program Alumni Event

with Lynda Roscoe Hartigan, Rose-Marie and Eijk van Otterloo

Executive Director and CEO, Peabody Essex Museum

By invitation only. In-person-only event.

Sunday, May 7

9:30 AM–3:45 PM ET

Conference Sessions

Sponsored by Sotheby’s Prince George Ballroom, 15 East 27th Street, New York, NY 10016

9:30–10:00 AM ET

Coffee Reception and Check-In

10:00–10:15 AM ET

New President Welcome

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

10:15–10:20 AM ET

Introduction to Keynote

by Beth Citron, Independent Curator; Board of Trustees, AAMC & AAMC Foundation

10:20–11:20 AM ET Keynote

by Tasneem Zakaria Mehta , Director, Dr. Bhau Daji Lad Museum

11:20–11:45 AM ET Break

11:45–11:50 AM ET

Introduction to Curating Across/Between Departments

by Elizabeth Morrison, Senior Curator of Manuscripts, J. Paul Getty Museum; Vice President, Governance & Nominating; AAMC & AAMC Foundation

Panel: Curating Across/Between Departments

Recent innovative display strategies in encyclopedic institutions have pushed the limits of experimentation in museums. For example, the Bode Museum’s Beyond Compare exhibition juxtaposed Medieval European sculpture with traditional African Art. In this exhibition, viewers were forced to confront their biases of beauty and art historical canons. Likewise, The Metropolitan Museum of Art’s Crossroads: Power and Piety exhibition in the Medieval Sculpture Hall experimented with nontraditional groupings that highlighted overarching concepts core to understanding Medieval works of art. These are just two permanent collection exhibitions out of many that represent a turn in curatorial work, which can often be siloed. Inter/cross-departmental exhibitions not only unsettle visitors, who might expect works of art to be organized by chronology or geography, but the installations also represent a move in museums toward dismantling their claims to knowledge and ownership. The panelists will reflect on their experiences workings across and between curatorial departments to mount pioneering exhibitions at their institutions.

CO-ORGANIZER & MODERATOR

Andrea Achi, Assistant Curator, The Metropolitan Museum of Art

CO-ORGANIZER & PANELIST

Akili Tommasino, Associate Curator, The Metropolitan Museum of Art

PANELISTS

Alisa Chiles, Assistant Curator of European Decorative Arts, Philadelphia Museum of Art

Maurita N. Poole, Executive Director, Newcomb Art Museum

12:50–2:00 PM ET Break

2:00–2:05 PM ET

Introduction to Local Voices: Culture@3 Building Community

by Judith Pineiro, Executive Director, AAMC & AAMC Foundation

Local Voices: Culture@3 Building Community

As cultural organizations scrambled to navigate the early days of the pandemic, Taryn Sacramone of Queens Theatre and Chair of New York City’s Cultural Institutions Group began gathering leaders on a daily call. The 3 pm Zoom was dubbed "Culture@3" and quickly grew to include hundreds of nonprofit cultural organizations of all sizes from throughout New York City who came together to discuss challenges, share advice and resources, and collectively problem-solve. Co-led by Taryn, Sade Lythcott of the National Black Theatre, and Lucy Sexton of New Yorkers for Culture & Arts, Culture@3 continues to this day and has proved to be transformational for the city’s cultural community. Join the co-leaders of Culture@3 to discuss the history, impact, and learnings from this initiative, and how it can serve as a model for developing new ways to build community and connectivity in the arts sector.

PANELISTS

Sade Lythcott , Chief Executive Officer, National Black Theatre

Taryn Sacramone, Executive Director, Queens Theatre

Lucy Sexton, Executive Director, New Yorkers for Culture and Arts

2:30–2:35 PM ET

Introduction to Latinx Art in New York

by E. Carmen Ramos, Chief Curatorial and Conservation Officer, The National Gallery of Art; Board of Trustees, AAMC & AAMC Foundation

2:35–3:45 PM ET

Panel: Latinx Art in New York

After decades of being supported mainly by culturally-specific or small community-oriented museums, Latinx art is starting to be represented in mainstream museums devoted to U.S., modern, and contemporary art. As a city with one of the nation’s largest Latinx populations, New York is a center stage for this shift. Whereas El Museo del Barrio, the Bronx Museum of the Arts, and the Jersey City Museum have been cornerstones of Latinx art in the New York region for decades, more recently The Museum of Modern Art and the Whitney Museum of American Art have garnered great visibility and mediatic presence for their Latinx art acquisitions and exhibitions. This panel will bring together curators from institutions with recent and long-standing practices collecting and exhibiting Latinx art in an effort to explore the current dynamics at play at art spaces of cultural specificity and the mainstream, along with their impact in the cultural landscape and in the art market.

MODERATOR

Taína Caragol, Curator of Painting, Sculpture & Latinx Art and History

Smithsonian National Portrait Gallery

PANELISTS

Beverly Adams , Estrellita Brodsky Curator of Latin American Art, Museum of Modern Art

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

Marcela Guerrero, DeMartini Family Curator, Whitney Museum of American Art

Rodrigo Moura , Chief Curator, El Museo del Barrio

3:45 PM ET

Sessions Conclude

5:30–7:30 PM ET

Awards for Excellence Celebration

Prince George Ballroom, 15 East 27th Street, New York, NY 10016 In-person-only event. Advance registration required.

The Awards for Excellence, highly esteemed by art curators everywhere, is the only award of its kind by which curators directly honor their colleagues. Gather with curators from around the world in celebrating AAMC’s 2023 Awards for Excellence recipients, and join us to learn more about these groundbreaking curatorial projects, as well as raise a glass to toast this year’s awardees.

Monday, May 8

9:30 AM–4:45 PM ET

Conference Sessions

Sponsored by Schoelkopf Gallery

Prince George Ballroom, 15 East 27th Street, New York, NY 10016

9:00–9:30 AM ET

Coffee Reception and Check-In

9:30 AM ET

Welcome Remarks

by Andrew Schoelkopf, Owner, Schoelkopf Gallery

9:30–9:35 AM ET

Introduction to Keynote—

DEAI: Recruitment, Hiring & Pipeline Toolkit

by Juliet Sorce, Executive Vice President, Resnicow and Associates; Vice President, Advocacy, Board of Trustees, AAMC & AAMC Foundation

9:35–10:35 AM ET

Keynote— DEAI: Recruitment, Hiring & Pipeline Toolkit

with Angie Brice Thomas, Founder & CEO, Brice Consulting Group, LLC

In the summer of 2020, following the murder of George Floyd, museum directors, educators, and leaders from across New York City formed the Cross-Museum DEAI Task Force to address diversity, equity, accessibility, and inclusion (DEAI) among museum staff. With senior management representatives from 16 New York institutions, the Task Force aimed to make New York City’s cultural institutions more accessible and diverse spaces for staff, Board, members, artists, and audiences. A subset of this Task Force was responsible for meaningful change in hiring, recruitment, and pipeline development practices and worked together for over a year in deep partnership with Brice Consulting Group LLC to create a DEAI Recruitment & Hiring Toolkit. Comprised of three deliverables—a Summary Landscape Analysis, a Hiring & Recruitment Best Practices Guide, and a Diversity Evaluation Toolkit as well as a foreword by Tom Finkelpearl, the former Queens Museum Director and NYC Department of Cultural Affairs Commissioner, our work is poised to bring deep value to the broader field. If you are looking to strengthen your recruitment and hiring practices, be it with a laser focus on equity or concrete tactics for diversifying your applicant pool and staff, this toolkit is your onestop shop. Join us to learn more and consider replicating for your own context.

Introduction to The Curator in Public Art

by Lauren Haynes, Director of Curatorial Affairs and Programs, Queens Museum; Vice President, Fundraising, Board of Trustees, AAMC & AAMC Foundation

10:40–11:40 AM ET

Panel: The Curator in Public Art

Many current curators of public art programs were trained in the museum. Is the role of a public art curator sustained or transformed from a museum model? With public art a gateway to museum collections, have codes and conditions of museum practice inspired or restricted artists who create public art? Do curators proceed from the energized position of the artist offering new work to communities, publics, and institutions? Can these lived experiences impact museum practice?

ORGANIZER & MODERATOR

Brooke Kamin Rapaport , Artistic Director and Martin Friedman Chief Curator, Madison Square Park Conservancy

PANELISTS

Iwona Blazwick , Emeritus Curator Whitechapel Gallery, Curatorial Lead Arts AlUla

Allison Glenn, Co-Curator, Counterpublic 2023 Triennial

Ken Lum , Artist and Professor and Chair of Fine Arts, University of Pennsylvania’s Weitzman School of Design; Co-Founder, Monument Lab

11:40 AM–12:45 PM ET

RoundTables

In-person only. Lunch will not be provided. Sponsored by Hauser & Wirth

AAMC’s RoundTables are small-group discussions where members discuss topics facing the field at large. Through these open conversations, AAMC hopes to catalyze lasting cross-institutional discussions on best practices in the field. Seating is on a first-come-first-serve basis.

• Cross-Field Collaborations

• Curating with Communities

• Acquisitions to Change Collections

• DEAI: Recruitment & Hiring

• Site-Specific Installations

• Collection Reviews

• Artist Demographic Surveys

Break

12:45–2:00 PM ET

Private Viewing of Mark Bradford. You Don’t Have to Tell Me Twice at Hauser & Wirth

542 West 22nd Street, New York, NY 10011

Advanced registration required—registration link in our Conference platform, Socio. In-person-only event.

Hauser & Wirth welcomes curators to a private viewing of Mark Bradford. You Don’t Have to Tell Me Twice.

2:30–2:35 PM ET

Introduction to Keynote

by Mary-Kate O’Hare, Director and Senior Art Advisor, Modern and Contemporary Art, Citi Private Bank, Art Advisory & Finance; Vice President, Finance & Audit, Board of Trustees, AAMC & AAMC Foundation

2:35–3:30 PM ET

Keynote Address by Artist Teresita Fernández

3:30–3:35 PM ET

Introduction to Best Practices Guide for Artist Demographic Data Coordination

by Deborah Cullen-Morales, Program Officer for Arts and Culture, Mellon Foundation

Panel: Best Practices Guide for Artist Demographic Data Coordination

Art organizations have recognized the need for a better understanding of the demographics of the artists whose works are in their collections and exhibitions. While there is the understanding that these surveys need to be undertaken for transparency, accountability, and internal reckoning, there has also been a strong apprehension about initiating surveys without internal support structures to support them. To aid the field, AAMC Foundation has partnered with curatorial and non-curatorial colleagues to create the Best Practices Guide for Artist Demographic Data Coordination, a collaboratively written Guide developed with support from the Mellon Foundation, that seeks to provide insight for those developing surveys. Join us for a conversation with some of the Guide’s contributors to discuss the formation, implementation, and future uses of this resource, along with ongoing questions and concerns for demographic guide collection.

ORGANIZER

Judith Pineiro, Executive Director, AAMC & AAMC Foundation

MODERATOR

Victoria Mattingly, DEI Data Expert, Author, and CEO of Mattingly Solutions

PANELISTS

Sarah Osborne Bender, Head of Library Technical Services, National Gallery of Art

Marissa Del Toro, Assistant Director of Exhibitions and Programs, NXTHVN

David Max Horowitz , Assistant Curator, Solomon R. Guggenheim Museum

Liz Munsell, The Barnett & Annalee Newman Curator of Contemporary Art, The Jewish Museum

4:35 PM ET

Sessions Conclude

6:00–7:45 PM ET

Members’ Party

The Morgan Library & Museum, Gilbert Court, 225 Madison Ave, New York, NY 10016

Advance registration required. In-person-only event.

Catch up with friends and colleagues at AAMC’s annual Members’ Party at the Morgan Library & Museum. Enjoy access to J. Pierpont Morgan’s Library and all available galleries, including the exhibitions Uncommon Denominator: Nina Katchadourian, Entrance to the Mind: Drawings by George Condo in the Morgan Library & Museum, Claude Gillot: Satire in the Age of Reason, and Sublime Ideas: Drawings by Giovanni Battista Piranesi

Tuesday, May 9

9:00 AM–1:00 PM ET

Conference Sessions

Prince George Ballroom, 15 East 27th Street, New York, NY 10016

9:00–9:30 AM ET

Coffee Reception and Check-In

9:30–10:30 AM ET

RoundTables

In-person only. Breakfast will not be provided. Sponsored by Lehmann Maupin

AAMC’s RoundTables are small-group discussions where members discuss topics facing the field at large. Through these open conversations, AAMC hopes to catalyze lasting cross-institutional discussions on best practices in the field. Seating is on a first-come-first-served basis.

• Cross-Field Collaborations

• Curating with Communities

• Acquisitions to Change Collections

• DEAI: Recruitment & Hiring

• Site-Specific Installations

• Collection Reviews

• Artist Demographic Surveys

10:30–10:40 AM ET

Welcome Remarks

by Judith Pineiro, Executive Director, AAMC & AAMC Foundation

10:40–10:45 AM ET

Introduction to Keynote Workshop

Tuliza Fleming, Interim Chief Curator of Visual Arts, National Museum of African American History and Culture; Vice President, Inclusion & Outreach, Board of Trustees, AAMC & AAMC Foundation

Keynote: Racial Microaggressions, Relational Ruptures, and Repair

with Dr. Kenneth V. Hardy, President of the Eikenberg Academy for Social Justice, and Director of the Eikenberg Institute for Relationships

Racial microaggressions—intentional, unintentional, benign, or egregious— are, unfortunately, common everyday occurrences. The impact of racial microaggressions is seldom experienced by those on the receiving end as “micro” and can trigger emotions that range from insult and assault to deep hurt and harm. The widespread negative effects of racial microaggressions on relationships—especially those that are cross-racial—are compounded by the silence and awkwardness that often follows. The “micro-aggressor,” the “micro-aggressed,” and the “innocent onlooker” are often immobilized amid these tense moments for a variety of reasons. The micro-aggressor frequently focuses on the innocence and/or unintentionality of the assault, often leaving it unaddressed, while the micro-aggression seldom feels the emotional/psychological safety or comfort needed to respond in an authentic and emotionally regulated way, and, unfortunately, the innocent onlooker is often stymied by not knowing what to say or the fear of saying the wrong thing. Thus, in most cases, microaggressions remain unacknowledged, unaddressed, and ultimately become a major source of relational rupture and racial polarization. This workshop will provide strategies and techniques that the micro-aggressor, the micro-aggressed, and the innocent onlooker can employ to effectively respond to racial microaggressions. Special attention will be devoted to providing a framework for addressing and repairing relational ruptures caused by microaggressions and other harmful race-related acts.

11:45–11:50 AM ET

Introduction to Outside/Inside

by Wendy Chang, Director, rennie museum; Board of Trustees, AAMC & AAMC Foundation

Panel: Outside/Inside

This session explores what it means to empower voices outside the museum professional field as documenters and curators of their own experiences and art. Building on the principle of “nothing for us without us,” the panelists are a mix of professional curators and artists, activists, and community representatives who come from outside the curatorial field—all of whom are interested in sharing their experiences collaborating on the production of exhibitions and activations and considering how and where these approaches succeed and, perhaps most significantly, whether they can result in long-term institutional change. Presenters from the curatorial sphere discuss the process of transitioning from author to facilitator and managing institutional politics, while “outsider” curators speak to the difficulties inherent in navigating traditional museum structures and the expressive possibilities that come with being an “outside” voice on the “inside.”

ORGANIZER & MODERATOR

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

PANELISTS

Katherine Kasdorf, Associate Curator, Arts of Asia and the Islamic World, Detroit Institute of Arts

Rebeca Méndez , Artist, Designer, and Chair at UCLA Design Media Arts

Lorilee Wastasecoot , Curator of Indigenous Art and Engagement, Legacy Art Galleries

12:50–1:00 PM ET

Concluding Remarks

by Judith Pineiro, Executive Director, AAMC & AAMC Foundation

Saturday, May 13

Post-Conference Panel at TEFAF

TEFAF, The Park Avenue Armory, 643 Park Ave, New York, NY 10065

Access to this in-person-only event, hosted at TEFAF in New York City, is included in Conference registration. Advance registration required— registration link in our Conference platform, Socio.

1:00–2:00 PM ET

TEFAF Talks with Art Curators (AAMC): Leadership Now

Expanding upon the Association of Art Museum Curators annual Art Curators Conference, we are bringing together leaders that have recently moved into their current roles to discuss their interpretation of empowerment through their work, collections/exhibitions, teams, and community. This program is organized by the AAMC, and was created by Judith Pineiro, Executive Director, AAMC & AAMC Foundation.

ORGANIZER

Judith Pineiro, Executive Director, AAMC & AAMC Foundation

MODERATOR

Siddhartha V. Shah, John Wieland 1958 Director, Mead Art Museum, Amherst College

PANELISTS

Tracee Glab, Executive Director, Flint Institute of Arts

Michelle Yun Mapplethorpe, Executive Director, Katonah Museum of Art

Mónica Ramírez-Montagut , Executive Director, Parrish Art Museum

Art Curators Conference Continues

AAMC is proud to be taking its Conference theme to a wider public audience. In partnership with TEFAF, AAMC is hosting a TEFAF Talks session.

TEFAF Talks with Art Curators (AAMC): Leadership Now

Saturday, May 13 1:00–2:00 PM ET

TEFAF

The Park Avenue Armory, 643 Park Ave, New York, NY 10065

Access to this in-person-only event, hosted at TEFAF in New York City, is included in Conference registration. Advance registration required—registration link provided in our Conference platform, Socio.

Expanding upon the Association of Art Museum Curators annual Art Curators Conference, we are bringing together leaders that have recently moved into their current roles to discuss their interpretation of empowerment through their work, collections/ exhibitions, teams, and community. This program is organized by the AAMC, and was created by Judith Pineiro, Executive Director, AAMC & AAMC Foundation.

About TEFAF

Established in 1988, The European Fine Art Foundation (TEFAF) is widely regarded as the world’s preeminent organization for fine art, antiques, and design. TEFAF runs two fairs internationally: TEFAF Maastricht, which covers 7,000 years of art history, and

ORGANIZER

Judith Pineiro, Executive Director, AAMC & AAMC Foundation

MODERATOR

Siddhartha V. Shah , John Wieland 1958 Director, Mead Art Museum, Amherst College

PANELISTS

Tracee Glab, Executive Director, Flint Institute of Arts

Michelle Yun Mapplethorpe , Executive Director, Katonah Museum of Art

Mónica Ramírez-Montagut , Executive Director, Parrish Art Museum

WHERE TEFAF

The Park Avenue Armory

643 Park Ave

New York, NY 10065

WHEN

Saturday, May 13

1:00–2:00 PM ET

ACCESS

Access to this in-person-only event, hosted at TEFAF in New York City, is included in Conference registration. Advance registration required—registration link provided in our Conference platform, Socio.

TEFAF New York, focused on Modern and Contemporary Art & Design. TEFAF gives international dealers the platform to present museum-quality works of all eras and genres to a broad base of collectors and connoisseurs.

Image:

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Panelist & Presenter Bios

Andrea Myers Achi, Assistant Curator, Department of Medieval Art, The Metropolitan Museum of Art

Dr. Andrea Achi is an Assistant Curator in the Department of Medieval Art at The Metropolitan Museum of Art. She is trained as a Byzantinist, and her curatorial practice focuses on late antique and Byzantine art of the Mediterranean Basin and Northeast Africa. She holds a BA from Barnard College and a PhD from New York University. She specializes in the art and archaeology of Late Antiquity, with a particular interest in illuminated manuscripts and ceramics. She has brought this expertise to bear on exhibitions like Art and Peoples of the Kharga Oasis (2017), Crossroads: Power and Piety (2020), and The Good Life (2021), all at The Met, and in numerous presentations and publications.

Beverly Adams , Estrellita Brodsky Curator of Latin American Art, Museum of Modern Art

Beverly Adams is The Museum of Modern Art’s (MoMA) Estrellita Brodsky Curator of Latin American Art. Before joining MoMA, Adams was the Curator of Latin American Art at the Blanton Museum at the University of Texas at Austin, where she organized, among other exhibitions, The Avant-Garde Networks of Amauta: Argentina, Mexico, and Peru in the 1920s (2019) with Natalia Majluf. From 2001 to 2013, Adams was curator for the Diane and Bruce Halle Collection, a private collection of modern and contemporary Latin American art. She previously held curatorial positions at the San Antonio Museum of Art and the Phoenix Art Museum, and taught twentieth-century Latin American art history courses at Arizona State University. Adams holds a PhD in Art History from the University of Texas at Austin.

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

Rocío Aranda-Alvarado is Senior Program Officer in Creativity and Free Expression at the Ford Foundation. She supports a variety of arts grantees in New York and nationally. Previously, she was Curator at El Museo del Barrio, where she organized numerous exhibitions, including the museum’s 45th anniversary exhibition and two versions of The S-Files/La Bienal, El Museo’s biennial exhibition of emerging artists; PRESENTE! The Young Lords in New York (2015); and Antonio Lopez: Future, Funk Fashion (2016); among many others. Her curatorial work and research explores modern and contemporary art of the Americas, with a particular focus on U.S. Latinx art. Dr. Aranda-Alvarado has taught in the Art Department at the City College of New York and in the MA program at Hunter College’s Art Department. Her writing has appeared in various publications including catalogue essays for several museums. She is a huge fan of Times Square and Hello Kitty.

Sarah Osborne Bender, Head of Technical Services, National Gallery of Art Library

Sarah Osborne Bender is the head of technical services at the National Gallery of Art Library where she oversees cataloging, metadata, and acquisitions. She is a member of the Cataloging Advisory Committee of the Art Libraries Society of North America and the Getty Vocabularies Steering Committee and was a contributing writer for AAMC’s Best Practices Guide for Artist Demographic Data Coordination. She led the foundation of the Judy Chicago Visual Archive at the National Museum of Women in the Arts, where she also curated exhibitions on Chicago, Simone de Beauvoir, and artists’ books. She has worked in museum libraries for over 20 years. Sarah makes opportunities for meaningful exploration of collections and collection data through description, preservation, openness, and outreach.

Iwona Blazwick , Emeritus Curator, Whitechapel Gallery & Curatorial Lead, Arts AlUla

London-based curator and contemporary art lead for Arts AlUla, Iwona Blazwick was formerly Director of the Whitechapel Gallery, London, Head of Exhibitions and Displays at Tate Modern, and Director of Exhibitions at London’s ICA. She has worked as an independent curator in Europe, Japan, and the U.S. She has curated numerous solo and survey exhibitions and is an advisor for several public art agencies. A critic, art historian, lecturer, and broadcaster, she has published extensively on contemporary artists, themes and movements, and institutional histories. She is Founding Editor of the Whitechapel Gallery/MIT Press Documents of Contemporary Art and Phaidon Press’s Contemporary Artists Monographs.

Taína Caragol, Curator of Painting, Sculpture & Latinx Art and History, Smithsonian National Portrait Gallery

Taína Caragol is Curator of painting, sculpture, and Latinx art and history at the National Portrait Gallery. Her scholarship focuses on Latinx and Latin American art and its institutional and market validation, as well as on the recovery of histories suppressed by colonialism. Since her hiring in 2013, she has brought more than 200 portraits of Latinx historical figures and artists into the Portrait Gallery’s collection. Her curated or co-curated exhibitions include Portraiture Now: Staging the Self, One Life: Dolores Huerta, and UnSeen: Our Past in a New Light, Ken Gonzales-Day and Titus Kaphar. She directed the Portrait Gallery’s triennial Outwin Boochever Portrait Competition 2022 and co-curated its resulting exhibition The Outwin 2022: American Portraiture Today. She is currently co-curating 1898: US Imperial Visions and Revisions, which will offer a critical examination of the events that turned the US into a world power with overseas territories. She is co-author of The Obama Portraits, published in 2020 by Princeton University Press.

Wendy Chang, Director, rennie museum; Board of Trustees, AAMC & AAMC Foundation

Wendy Chang has been Director of the Rennie Collection since 2006, and is the Founding Director of the rennie museum. She formalized operations of the collection and established all aspects of the museum’s operations. Under her stewardship, the museum has staged an array of complex exhibitions with artists such as Martin Creed, Lara Favaretto, Mona Hatoum, and Kerry James Marshall. To advance the museum’s mandate of providing accessibility to arts and culture, she developed its internship, education, and engagement programs, while also serving as catalogue series editor, overseeing all facets of the publication program. Prior to her current position Wendy worked extensively with leading institutions and collections worldwide, spending nearly 15 years producing projects and presenting exhibitions with a diverse group of artists including John Baldessari, Glenn Brown, Dan Graham, Rodney Graham, Mike Kelley, Paul McCarthy, Juan Muñoz, Shirin Neshat, Richard Prince, Ed Ruscha, Jeff Wall, Christopher Williams, Christopher Wool, and Andrea Zittel.

Alisa Chiles, Assistant Curator of European Decorative Arts and Sculpture, Philadelphia Museum of Art

Alisa Chiles is an Assistant Curator of European Decorative Arts and Sculpture at the Philadelphia Museum of Art, where she helps oversee the collection of decorative arts from Europe after 1700 and the museum’s global design collection. She holds a BA in Art History from Stanford University, an MA in Art History from New York University’s Institute of Fine Arts, and is currently completing her PhD in Art History at the University of Pennsylvania. Alisa has worked on the reinstallation of the Philadelphia Museum of Art’s nineteenth-century galleries and installations in its British galleries. She is currently organizing an exhibition about the enduring legacy of early twentieth-century designs for the prevention and treatment of diseases such as tuberculosis and the Spanish Flu. Prior to coming to Philadelphia, she worked in the Department of European Sculpture and Decorative Arts at The Metropolitan Museum of Art.

Beth Citron, Independent Curator; Board of Trustees, 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 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 on modernist art across South Asia (2016) and co-organized a live program of artists’ performance lectures (2018).

Deborah Cullen-Morales , Program Officer for Arts and Culture, Mellon Foundation

Deborah Cullen-Morales, PhD, is a Program Officer for Arts and Culture at the Mellon Foundation. Previously, she served as Executive Director of the Bronx Museum of the Arts; Director and Chief Curator of the Wallach Art Gallery at Columbia University; Director of Curatorial Programs at El Museo del Barrio; and Curator of the print collection at Robert Blackburn’s Printmaking Workshop. Focused on modern and contemporary Latinx, Caribbean, and African American art, Cullen-Morales is currently co-editing A Handbook of Latinx Art (UC Press). Recent curatorial projects include Robert Blackburn & Modern American Printmaking, organized by the Smithsonian Institution Traveling Exhibition Service, which toured from 2020 through 2022.

Ilaria Conti, Curator, American Federation of Arts

Ilaria Conti’s curatorial work focuses on research-based artistic practices engaging with decolonial epistemologies and the relationship between institutional infrastructures, communal care, and civic agency. Currently, Ilaria serves as Curator at the American Federation of Arts, advancing frameworks of decentralized and sustainable exhibition-making with a focus on contemporary art and social/cultural justice. Previously, she served as Research Curator at the Centre Pompidou, Assistant Curator of the 2016 Marrakech Biennale, and was a Samuel H. Kress Interpretive Fellow at The Metropolitan Museum of Art, among other positions. She is an Advisor in the Visual Arts for the American Academy in Rome. Ilaria is an Awarded Mentee of the 2021–2022 Association of Art Museum Curators Foundation’s Mentorship Program. She holds a BA and MA in Art History and Curatorial Studies from the University of Rome La Sapienza and an MA in Visual Arts Management from New York University. Her curatorial work has been featured in exhibitions and programs presented at the Centre Pompidou, The Metropolitan Museum of Art, Swiss Institute/Istituto Svizzero, Fondation H, and La Nueva Fábrica Guatemala, among other institutions.

Pablo José Ramírez , Curator and Cultural Theorist

Pablo José Ramírez is a curator and an author based in Berlin. He was the inaugural Adjunct Curator of First Nations and Indigenous Art at Tate Modern (2019–2023). His work explores non-western ontologies, brown and indigenous histories, and the aesthetic possibilities of non-colonial materialities. He has an MA in Contemporary Art Theory from Goldsmiths, University of London. In 2019, he received the International/CPPC Independent Curators Award for Central America and the Caribbean and is currently Editor-in-Chief and Co-Founder of Infrasónica, a curatorial platform dedicated to the investigation of sonic cultures. Ramírez was part of the curatorial team of the 58th Carnegie International and is currently co-curator with Diana Nawi of the Hammer Museum Biennial, Made in L.A. 2023.

Marissa Del Toro, Assistant Director of Exhibitions and Programs, NXTHVN

Marissa Del Toro is the Assistant Director of Exhibitions and Programs at NXTHVN in New Haven, CT. Since 2021, Del Toro has also worked with Museums Moving Forward as Co-Director of Research and Director of Communications. Previously, she served as the 2021–2022 Curatorial Fellow at NXTHVN and as the 2018–2020 Diversifying Art Museum Leadership Initiative (DAMLI) Curatorial Fellow at the Phoenix Art Museum. She holds an MA in Art History from the University of Texas at San Antonio and is originally from Southern California, where she received a BA in Art History from the University of California, Riverside.

Teresita Fernández , Artist

Teresita Fernández’s work is characterized by an expansive rethinking of what constitutes landscape: from the subterranean to the cosmic, from national borders, to the more elusive psychic landscapes we carry within. Fernández unravels the intimacies between matter, human beings, and locations, and her luminous work poetically challenges ideas about land and landscape by exposing the history of colonization and the inherent violence embedded in how we imagine and define place, and, by extension, one another. Questions of power, visibility, and erasure are important tenets of Fernández’s work, and she confronts these themes in subtle ways, insisting on intertwining beauty, the socio-political, the intimate, and the immense. Imbuing the landscape with an anthropomorphic sensibility, Fernández has said “You look at the landscape, but the landscape also looks back at you; Landscape is more about what you don’t see than what you do see.”

Fernández is a MacArthur Foundation Fellow and the recipient of numerous awards, including a Creative Capital Award; Meridian Cultural Diplomacy Award; Guggenheim Fellowship; Louis Comfort Tiffany Biennial Award; American Academy of Rome Fellowship; and a National Endowment for the Arts Individual Artist’s Grant in Visual Arts. In 2011, she was appointed by President Barack Obama to serve on the U.S. Commission of Fine Arts. She is the first Latina to serve on the 100-year-old federal panel, which advises the president and Congress on national matters of design and aesthetics. In 2016, she conceived and directed the U.S. Latinx Arts Futures Symposium with the Ford Foundation, which brought together artists, curators, museum directors, and scholars from across the country to discuss modes of visibility within cultural institutions.

Her work has been exhibited internationally at The Museum of Modern Art, New York; San Francisco Museum of Modern Art; Philadelphia Museum of Art; Phoenix Art Museum; Pérez Art Museum Miami; Harvard University, Boston; Modern Art Museum of Fort Worth; Museum of Contemporary Art Cleveland; Centro de Arte Contemporáneo de Málaga; Museum of Fine Arts, Boston; Smithsonian Museum of American Art; Massachusetts Museum of Contemporary Art; and Castello di Rivoli, Turin, among others. Fernández has also created numerous large-scale public sculptures, including at the Brooklyn Academy of Music; New Orleans Museum of Art; Ford Foundation, NY; and Madison Square Park, NY. She lives and works in Brooklyn, NY.

Liisa-Rávná Finbog, Sámi Indigenous Scholar, Duojár, and Curator

Dr. Liisa-Rávná Finbog is a Sámi Indigenous scholar, duojár, and curator from Oslo, Vaapste, and Sk ánit in the Norwegian part of S ápmi. She is currently based in Tampere, on the Finnish side of Sápmi, where she is doing post-doc research in connection with “Mediated Arctic Geographies,” a project that aims to look at how Arctic geospheres are aesthetically shaped and mediated to become vehicles of environmental, [geo]political, and social concerns at Tampere University. Her specific focus is on the relationship between Indigenous aesthetics in the Arctic and the land. Her written works include contributions to collective works such as Research Journeys In/To Multiple Ways of Knowing (2019), articles in Nordic Museology (2015), and in the digital platform Action Stories (2021); essays in multiple exhibition catalogues (2022, 2023); as well as several upcoming works, including her first book, It Speaks to You—Making Kin Through People, Stories, and Duodji in Sámi Museums (2023).

Tuliza Fleming, Interim Chief Curator of Visual Arts, National Museum of African American History and Culture; Vice President, Inclusion & Outreach, Board of Trustees, AAMC & AAMC Foundation

Tuliza Fleming is the Interim Chief Curator of Visual Arts at the National Museum of African American History and Culture. During her tenure, she played a critical role in building the Museum’s art collection, served as lead curator for Reckoning: Protest. Defiance. Resilience. (2021), as well as for Visual Art and the American Experience (2016). She also curated Clementine Hunter: Life on Melrose Plantation (2018), and co-curated Ain’t Nothing

Like the Real Thing: How the Apollo Theater Shaped American Entertainment (2010). Prior to her current position, Dr. Fleming was the Associate Curator of American Art at the Dayton Art Institute, where she organized exhibitions such as The Glass of Louis Comfort Tiffany and Monet and the Age of American Impressionism. Fleming received her MA and PhD in Art History from the University of Maryland.

Tracee Glab, Executive Director, Flint Institute of Arts

Tracee Glab is the Executive Director at the Flint Institute of Arts (FIA). Previously, as Curator of Collections and Exhibitions, she oversaw more than 100 exhibitions and curated 40 exhibitions. Prior to her role at the FIA, she worked for ten years at the Detroit Institute of Arts. Glab has an MA in Art History from Wayne State University and a BA in Art History from University of Michigan-Dearborn.

Allison Glenn, Co-Curator, Counterpublic 2023 Triennial

Allison Glenn is a curator and writer deeply invested in working closely with artists to develop ideas, artworks, and exhibitions that respond to and transform our understanding of the world. Glenn’s curatorial work focuses on the intersection of art and publics, through public art, biennials, special projects, and major new commissions by a wide range of contemporary artists. She is one of the curators for the Counterpublic 2023 triennial, running April 15–July 15, 2023 in St. Louis, presenting the work of Sir David Adjaye OM OBE, Matthew Angelo Harrison, Mendi + Keith Obadike, and Maya Stovall. Glenn received substantial critical and community praise for her curatorial work in the 2021 groundbreaking exhibition at the Speed Art Museum in Louisville, Kentucky, titled Promise, Witness, Remembrance, an exhibition that reflected on the life of Breonna Taylor, centered on her portrait painted by Amy Sherald.

Marcela Guerrero, DeMartini Family Curator, Whitney Museum of American Art

Marcela Guerrero is the DeMartini Family Curator at the Whitney Museum of American Art, New York. She is the curator of no existe un mundo poshuracán: Puerto Rican Art in the Wake of Hurricane Maria and Martine Gutierrez: Supremacy, both at the Whitney. She was part of the curatorial team that organized Vida Americana: Mexican Muralists Remake American Art, 1925 –1945, and also curated the 2018 exhibition Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art. From 2014 to 2017, she was the Curatorial Fellow for Radical Women: Latin American Art, 1960 –1985, organized by the Hammer Museum in Los Angeles. Prior to joining the Hammer, she worked in the Latin American and Latino art department at the Museum of Fine Arts, Houston. Born and raised in Puerto Rico, Guerrero holds a PhD in Art History from the University of Wisconsin, Madison.

Lynda Roscoe Hartigan, Rose-Marie and Eijk van Otterloo Executive Director and CEO, Peabody Essex Museum; Board of Trustees, AAMC & AAMC Foundation

Lynda Roscoe Hartigan is the Rose-Marie and Eijk van Otterloo Executive Director and CEO of the Peabody Essex Museum. Hartigan was previously Deputy Director for Collections and Research and Chief Innovation Officer at the Royal Ontario Museum. From 2003 to 2016, she was the first Chief Curator at the Peabody Essex Museum, and Deputy Director and Chief Curator since 2016. From 1978 to 2003, Hartigan rose from Curatorial Assistant to Chief Curator at the Smithsonian American Art Museum. Her curatorial areas of expertise are in American art, especially by self-taught, black, and modern artists, and fashion and design. She has devoted her career to advancing the capacity of curators to communicate the transformative potential of creativity in people’s lives.

Lauren Haynes, Director of Curatorial Affairs and Programs, Queens Museum; Vice President, Fundraising, Board of Trustees, AAMC & AAMC Foundation

Lauren Haynes is Director of Curatorial Affairs and Programs at the Queens Museum. Previously, she was the Patsy R. and Raymond D. Nasher Senior Curator of Contemporary Art at the Nasher Museum of Art at Duke University. Before her time at the Nasher, Haynes was Director of Artist Initiatives and Curator of Contemporary Art at the Crystal Bridges Museum of American Art and the Momentary in Bentonville, Arkansas. Prior to Crystal Bridges, Haynes spent close to a decade at the Studio Museum in Harlem. Haynes’s recent curatorial projects include Lyle Ashton Harris: Our first and last love (co-curator, 2023); Beyond the Surface: Mixed Media and Textile Works from the Collection (2022); Kenny Rivero: The Floor is Crooked (2021); Crystal Bridges at 10 (2021); Sarah Cain: In Nature (2021); State of the Art 2020 (co-curator, 2020); and The Beyond: Georgia O’Keeffe and Contemporary Art (co-curator, 2018).

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

Dr. Kenneth V. Hardy is a Clinical and Organizational Consultant at the Eikenberg Institute for Relationships in New York, NY, where he also serves as Director. He provides racially focused trauma informed training, executive coaching, and consultation to a diverse network of individuals and organizations throughout the U.S. 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: Race, Class, and Gender ; and Teens Who Hurt: Clinical Strategies for Breaking the Cycle of Youth Violence. In addition to his consultation work, Dr. Hardy is a frequent conference speaker and has also appeared on ABC’s 20/20, NBC’s Dateline, PBS, and The Oprah Winfrey Show

Since joining the Guggenheim’s curatorial department in 2015, David Max Horowitz has contributed to a number of special exhibitions and supported the management of the museum’s permanent collection. He is the curator of Marking Time: Process in Minimal Abstraction (2019–2020) and co-curator of R. H. Quaytman + ×, Chapter 34 (2018–2019). Additionally, he worked closely on Hilma af Klint: Paintings for the Future (2018–2019) and Agnes Martin (2016–2017), as well as Guggenheim Collection: Brancusi (2017–2020) and Guggenheim Collection: Early Modernism (2016–2017). Horowitz also regularly assists in the continued care and stewardship of the permanent collection. While mostly focused on the postwar period, he has conducted research on works from all parts of the museum’s holdings. He holds a BA in English Language and Literature from the University of Maryland, College Park, and an interdisciplinary MLA from Johns Hopkins University. He is currently pursuing an MA in Art History at Hunter College.

Michelle

Jacques,

Head of Exhibitions & Collections/Chief Curator, Remai Modern; President, Board of Trustees, AAMC & AAMC Foundation

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 8 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 center 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.

Rebeca Méndez , Artist, Designer, and Chair, UCLA Design Media Arts

Rebeca Méndez is an artist, designer, and Chair at UCLA Design Media Arts, where she is the Founder and Director of the CounterForce Lab, a research and fieldwork studio with a focus on ecological arts and justice. Her research and practice investigate design and media art in public space, critical approaches to public identities and landscape, and artistic projects based on field investigation methods. Méndez’s diverse works develop within science, design, and art through immersive video and sound installations, public art, photography, and book arts. Rebeca Méndez has won the three most significant awards in the field of design: The Cooper-Hewitt National Design Award in Communication Design, 2012; the AIGA Medal, 2017; and she was inducted into the One Club Hall of Fame, 2017. This triple crown would be worthy enough on its own, but when you add in that Rebeca is the first and only Latina to win each one of these, much less all three, the achievement is towering. Solo exhibitions include: San Francisco Museum of Modern Art, Anchorage Museum, Laguna Art Museum, Nevada Art Museum, and Museum of Contemporary Art, Oaxaca, Mexico.

David Max Horowitz , Assistant Curator, Solomon R. Guggenheim Museum

Liz Munsell, Barnett and Annalee Newman Curator of Contemporary Art, The Jewish Museum

Liz Munsell is the Barnett and Annalee Newman Curator of Contemporary Art at the Jewish Museum in New York, and co-lead for Museums Moving Forward, a Ford- and Mellon-funded research initiative to advance equity in the museum sector. Previously, she served as the inaugural Lorraine and Alan Bressler Curator of Contemporary Art at the Museum of Fine Arts (MFA), Boston, where she organized numerous exhibitions including Writing the Future: Basquiat and the Hip-Hop Generation, co-curated with Greg Tate (2020–2021); Bouchra Khalili: Poets and Witness (2019); and Cecilia Vicuña: Disappeared Quipu (2018–2019), co-curated with Catherine Morris and presented at the MFA and the Brooklyn Museum. Beginning in 2012, Munsell worked to establish the MFA as the first encyclopedic museum in the U.S. to fully integrate performance art into its exhibitions and permanent collection. Between 2012 and 2017, she held a visiting curator post at Harvard University’s David Rockefeller Center for Latin American Studies. A Fulbright Scholar to Chile in 2006, Munsell holds a BA in International Letters and Visual Studies from Tufts University and a Masters in Cultural Studies from the Universidad de Chile.

Elizabeth Morrison, Senior Curator of Manuscripts, J. Paul Getty Museum; Vice President, Governance & Nominating, AAMC & AAMC Foundation

Elizabeth Morrison is Senior Curator of Manuscripts at the J. Paul Getty Museum. During her 25 years there, she has 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 (2019), both of which were finalists for the College Art 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.

Katherine E. Kasdorf, Associate Curator of Arts of Asia and the Islamic World, Detroit Institute of Arts

Katherine E. Kasdorf (PhD, Columbia University, 2013) is Associate Curator of Arts of Asia and the Islamic World at the Detroit Institute of Arts (DIA). Curatorial projects include new permanent-collection galleries at the DIA and the Walters Art Museum, where she previously held a Wieler-Mellon Postdoctoral Curatorial Fellowship, and the Walters exhibition Ferocious Beauty: Wrathful Deities from Tibet and Nepal. She has published articles on architectural reuse in Hindu and Islamic contexts in South Asia and on works of Tibetan art at the Walters Art Museum, and she serves as head of the editorial board of the Bulletin of the Detroit Institute of Arts. With colleagues, she is currently planning an exhibition that will bring together a group of now-dispersed yogini goddess sculptures from Tamil Nadu (southern India), which will explore their many transformations over a 1,000-year history.

Ken Lum , Artist and Professor and Chair of Fine Arts, University of Pennsylvania’s Weitzman School of Design; Co-Founder, Monument Lab

Ken Lum is an artist with an extensive international exhibition record. A long-time Professor, he is Professor and Chair of Fine Arts at the University of Pennsylvania’s Weitzman School of Design in Philadelphia. He is Co-Founder and Founding Editor of the Yishu Journal of Contemporary Chinese Art. A book of his writings titled Everything is Relevant: Writings on Art and Life 1991–2018 was published in 2020 by Concordia University Press. He has given several keynote addresses including the 2022 congress of the International Association of Empirical Aesthetics, the 2010 World Museums Conference in Shanghai, the 2006 Biennale of Sydney in Australia, and the 1997 Universities Art Association of Canada. Lum’s curatorial record includes co-curating Shanghai Modern: 1919–1945, Sharjah Biennial 7, and Monument Lab: Creative Speculations for Philadelphia Lum is Co-Founder and Senior Curatorial Advisor to Monument Lab, a public art and history think tank.

Sade Lythcott , Chief Executive Officer, National Black Theatre

Harlem native Sade Lythcott is the Chief Executive Officer of the historic National Black Theatre (NBT), the nation’s first revenue-generating Black Arts complex and one of the longest-run theaters by a woman of color. She is the daughter of the late Dr. Barbara Ann Teer, Founder of NBT and legendary champion of African-American arts and culture. As a leader and staunch advocate for women and people of color in the cultural sector, Sade currently serves as the Chair of the Coalition of Theaters of Color and sits on the advisory boards of the Black Genius Foundation, Art in a Changing America, and HueArts NYC Project. Sade also co-leads Culture@3, an unprecedented space that brings together more than 1,000 of NYC’s nonprofit cultural leaders, funders, and friends in government to navigate pressing field-wide issues in an ever-shifting cultural landscape.

Michelle Yun Mapplethorpe, Executive Director, Katonah Museum of Art

Michelle Yun Mapplethorpe is Executive Director of the Katonah Museum of Art (KMA). Prior to her appointment to the KMA, Yun Mapplethorpe was Vice President for Global Artistic Programs and Director of the Asia Society Museum, following her tenure as Senior Curator of Modern and Contemporary Art there. She has formerly served as Curator for the Hunter College Art Galleries, Project Director of Cai Guo-Qiang’s studio, Curatorial Assistant in the Department of Painting and Sculpture at The Museum of Modern Art (MoMA), New York, and Adjunct Lecturer at MoMA and SUNY New Paltz, in addition to organizing numerous independently curated exhibitions. Yun Mapplethorpe is a widely published author and frequent lecturer on modern and contemporary art.

Victoria Mattingly, DEI Data Expert, Author, and CEO of Mattingly Solutions

Victoria Mattingly, PhD (Dr. V), is Founder and CEO of Mattingly Solutions, a workplace inclusion consulting firm. Her life mission is to use organizational science to improve the human experience at work, especially for underrepresented and historically excluded groups. Dr. V is a published author, an academic researcher, has taught in business schools globally, and is an esteemed speaker and thought leader in the diversity, equity, and inclusion (DEI) field. She earned her PhD in Industrial-Organizational Psychology from Colorado State University, specializing in the science of workplace behavior change interventions. As an organizational psychologist, she turns otherwise abstract concepts like inclusion and allyship into quantifiable metrics. Dr. V is currently focused on bringing more scientific rigor to the DEI space, enabling organizations to better track and assess progress toward reaching their goals. She also co-wrote the book Inclusalytics: How Diversity, Equity, and Inclusion Leaders Use Data to Drive Their Work.

Tasneem Zakaria Mehta , Director, Dr. Bhau Daji Lad Museum

Tasneem Zakaria Mehta is an art historian, writer, and conservation activist who studied Fine Arts and Textile Design at the Sir J. J. School of Art, Mumbai. She received a BA in Political Theory at Columbia University, New York, and a Masters in English Literature, Delhi University. She researched towards a PhD on Indian art history at the Jawaharlal Nehru University, New Delhi. She resides in Mumbai, India.

Mehta pioneered the revival and restoration of several of Mumbai’s important cultural sites. She conceptualized, curated, designed, and implemented the restoration and revitalization of Dr. Bhau Daji Lad Museum, which won UNESCO’s 2005 Asia Pacific Award of Excellence. As Managing Trustee and Honorary Director, from 2003 to the present, she curates the exhibition and education programmes of the museum, and Chairs the Academic Council of the PG Diploma in Indian Art History. She also oversees the Indian National Trust for Art and Cultural Heritage (INTACH) conservation lab at the museum. Mehta has curated 17 solo exhibitions of contemporary Indian artists and four group exhibitions, in addition to collection exhibitions. She has presented a total of 85 exhibitions in collaboration with national and international institutions over the past 15 years at the museum.

Mehta was Vice Chairman of INTACH from 2010 to 2017. As Convenor of the Mumbai chapter of INTACH from 1996 to 2018, she prepared the Management Plan for Elephanta World Heritage Site (WHS), the WHS submission to UNESCO for Chhatrapati Shivaji Maharaj Terminus (erstwhile Victoria Terminus); and she has led several important restoration projects in Mumbai.

Mehta has served as an advisor to many of the leading cultural institutions in South Asia. These include the Bangladesh government on the Bangabandhu Museum, Dacca, appointed by the Prime Minister’s Office, 2015; Advisory Board of the National Gallery of Modern Art (NGMA), Mumbai, from 1997 to 2015; the NGMA National Advisory Council from 2009 to 2011; and the National Institute of Design, Ahmedabad, 2003–2005 and 2011–2014.

Mehta has lectured widely at national and international institutions and conferences, including Mumbai University and Jawaharlal Nehru University, Delhi. Mehta delivered the plenary keynote at the Global Museums Summit at the Deutsche Museum, Munich, in October 2022.

Mehta represented India at the Google conference Digital Meets Culture, Florence, Italy, 2017, and at the San Francisco Asian Art Museum Directors Summit, 2014. She presented an exhibition of Indian Art and was speaker at two events at the World Economic Forum at Davos in 2010. Mehta has authored and edited several books. Her latest book, Mumbai–A City Through Objects, 101 Stories from the Dr. Bhau Daji Lad Museum, was published by Harper Collins in May 2022. She has received two awards of excellence for design and production and several commendations. Her articles have appeared in the Times of India, Indian Express, and other national and international publications. She has received several awards for her work including being voted a Mumbai Hero by the Mumbai Mirror, a Times of India publication.

Rodrigo Moura , Chief Curator, El Museo del Barrio

Rodrigo Moura is a writer, editor, and curator. He worked in institutions such as Museu de Arte de São Paulo and Instituto Inhotim, both in Brazil. He currently lives in New York, where he serves as a Chief Curator at El Museo del Barrio.

Mary-Kate O’Hare, Director and Senior Art Advisor, Citi Private Bank, Art Advisory & Finance; Vice President, Finance & Audit, AAMC & AAMC Foundation

Mary-Kate O’Hare is a Senior Art Advisor with Citi Private Bank Art Advisory & Finance, where she helps clients build and manage museum-quality art collections. She specializes in U.S., Latin American, and European nineteenth century, modern, and contemporary art. Prior to joining Citi in 2013, MaryKate was Curator of American Art at The Newark Museum, NJ (2000 – 2013), where she oversaw the American art collection of 12,000 objects, published research on the permanent collection, and organized several critically lauded loan and collection exhibitions. The International Association of Art Critics honored her exhibition and accompanying catalogue Constructive Spirit: Abstract Art in South and North America, 1920s – 50s (2010) with an award for “Best Thematic Museum Show Nationally.” Other exhibitions included those that explored Edward Hopper, Romare Bearden, twentieth-century photography, and the subject of the New Woman in nineteenth-century American art. Mary-Kate began her curatorial career as an Assistant Curator and Collections Manager at The Morris Museum, Morristown, NJ.

Judith Pineiro, Executive Director, AAMC & AAMC Foundation

Working in the visual arts for 30+ years, Pineiro is a strategic and valued leader who ensures sustainable growth and inclusive environments. Since 2014, as Executive Director of AAMC & AAMC Foundation, she has increased funding resources and raised the organization’s mission-driven profile. Additional senior-level roles include independent external affairs consultant; Director, Affordable Art Fair U.S.; Associate Development Director, Institutional Advancement, Museum of Arts and Design; and Account Manager, Museum Services, Christie’s. Pineiro serves on the Board of ArtTable, as well as its Executive Committee, and is Secretary on the Council of Affiliates at the American Alliance of Museums. She is a former Board member at ArtBridge Projects and the New York Artists Equity Association; mentor in the Diversity in Arts Leadership program; and juror for The Institute of Museum and Library Services, The National Art Education Association, and Brooklyn Arts Council. She is a first-generation American and first-generation college educated. Pineiro has an MA in Art History, Certificate in Curatorial Studies, BA in Art History, and BA in Journalism/Mass Media, all from Rutgers University.

Maurita N. Poole, Executive Director, Newcomb Art Museum

Maurita N. Poole is Executive Director and Chief Curator at the Newcomb Art Museum at Tulane University. She holds a doctorate from Emory University in Anthropology, an MPH from Rollins School of Public Health, and a Bachelor of Science in Arabic and Government from Georgetown University. Before Newcomb Art Museum, Poole served as Director and Curator at Clark Atlanta University Art Museum. As director, she strengthened the museum’s infrastructure and provided opportunities for the next generation of museum professionals. She also developed the Black Optics Artist Residency, an initiative that connected artists from the American South and Caribbean. Her curatorial projects focus on African and African Diaspora art. Her most recent exhibition, Emancipation: The Unfinished Project of Liberation, was co-curated with Margaret Adler of Amon Carter. It explores contemporary visualizations of freedom in relation to John Quincy Adams Ward’s 1863 sculpture The Freedman and the 160th anniversary of the Emancipation Proclamation.

Mónica Ramírez-Montagut , Executive Director, Parrish Art Museum

Dr. Mónica Ramírez-Montagut has been the Director of the Parrish Art Museum since June 2022, the same year she was appointed by President Biden to the National Museums and Libraries Board of Advisors. She is also a member of the International Council of Museums United States Board of Directors and a member of the Association of Art Museum Directors. Ramírez-Montagut received a Bachelor of Architecture degree from Universidad Iberoamericana in Mexico City, and a Masters and PhD in the Theory and History of Architecture from Universitat Politécnica de Catalunya in Barcelona, Spain. Before joining the Parrish, Ramírez-Montagut was the Executive Director of the Michigan State University Eli and Edythe Broad Art Museum, and the former Director of the Newcomb Art Museum of Tulane University in Louisiana. She has held curatorial positions at the San José Museum of Art, The Aldrich Contemporary Art Museum, and the Solomon R. Guggenheim Museum.

Brooke Kamin Rapaport , Artistic Director and Martin Friedman

Chief Curator, Madison Square Park Conservancy

Brooke Kamin Rapaport is Artistic Director and Martin Friedman Chief Curator at the Madison Square Park Conservancy, NY. She was Commissioner and Curator of the United States Pavilion at the 2019 Venice Biennale with the exhibition Martin Puryear: Liberty/Libertà. Rapaport was Assistant Curator and Associate Curator of Contemporary Art at the Brooklyn Museum, where she organized numerous exhibitions and wrote corresponding catalogues. She was a guest curator at the Jewish Museum in New York.

E. Carmen Ramos, Chief Curatorial and Conservation Officer, The National Gallery of Art; Board of Trustees, AAMC & AAMC Foundation

E. Carmen Ramos is Chief Curatorial and Conservation Officer at The National Gallery of Art in Washington, D.C. There she leads the curatorial and conservation teams as they serve the nation and beyond through collections development, ground-breaking scholarship, art conservation, and scientific research. Ramos previously served as the Acting Chief Curator and Curator of Latinx art at the Smithsonian American Art Museum, where she built one of the largest collections of Latinx art at a museum of U.S. art. She organized award-winning exhibitions including ¡Printing the Revolution! The Rise and Impact of Chicano Graphics, 1965 to Now (2020), Our America: The Latino Presence in American Art (2013), and Down These Mean Streets: Community and Place in Urban Photography (2017). In addition to her numerous catalogues, her scholarship appears in American Art, and in books like Picturing Cuba: Art, Culture, and Identity on the Island.

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

Shoshana Resnikoff is Demmer Curator of 20th- and 21st-Century Design at the Milwaukee Art Museum (MAM), where she is responsible for the modern and contemporary design department, managing exhibitions, acquisitions, and research into the collection. Prior to MAM, Shoshana was curator at The Wolfsonian-FIU, where she curated Street Shrines and co-curated A Universe of Things: Micky Wolfson Collects, among other projects. She has also held curatorial positions at the Peabody Essex Museum, Terra Foundation for American Art, and Cranbrook Art Museum. A member of AAMC since 2015, Shoshana holds a Master of Arts from the Winterthur Program in American Material Culture at the University of Delaware.

Taryn Sacramone, Executive Director, Queens Theatre

Taryn Sacramone is the Executive Director of Queens Theatre (QT), which provides performances and programs that are accessible to residents of Queens, NY, the most diverse county in the nation. In 2016, QT launched Theatre For All, a ground-breaking initiative to advance the inclusion of disabled people in the performing arts. In 2021, QT served as the organizing partner for the NYC Artists Corp grant program, which provided 3,000 artists with grants to provide a free community engagement activity, reaching 2M+ people. From 2021 to 2022, Taryn served as the Chair of the Cultural Institutions Group. She serves on the Board of the NYC & Company Foundation. She founded/co-leads Culture@3, a Zoom call started in March 2020, where 1,000+ leaders of NYC nonprofit cultural institutions connect with each other as well as government/civic leaders. Previously, Taryn served as Executive Director of the award-winning Astoria Performing Arts Center and worked at the Social Science Research Council.

Siddhartha V. Shah, John Wieland 1958 Director, Mead Art Museum, Amherst College

Siddhartha V. Shah is the John Wieland 1958 Director of the Mead Art Museum at Amherst College, and was previously Director of Education and Civic Engagement and Curator of South Asian Art at the Peabody Essex Museum. His academic and curatorial projects have been featured in publications ranging from The Times of India , The New Yorker, The Wall Street Journal, and Psychology Today

Lucy Sexton, Executive Director, New Yorkers for Culture & Arts

Lucy Sexton is a Brooklyn-born choreographer, producer, administrator, and performing artist who works in the fields of dance, performance, film, and public advocacy. She is the Executive Director of the cultural advocacy coalition New Yorkers for Culture & Arts. Prior to that, she served as Executive Director of the NY Dance and Performance Awards, The Bessies. As a dance artist, she works with Anne Iobst, creating and performing the dance performance duo DANCENOISE, which was founded in 1983, had a retrospective exhibit and performance at the Whitney Museum in 2015, and premiered a new piece at NY Live Arts in 2018. She has also directed and dramaturged plays by Spalding Gray, Tom Murrin, Nora Burns, and Heather Litteer; and produced documentaries by Charles Atlas for the BBC and Arte. She is currently directing a new show by Eszter Balint with songs by Balint and Stew.

Juliet Sorce, Executive Vice President, Resnicow and Associates; Vice President, Advocacy, Board of Trustees, AAMC & AAMC Foundation

Juliet Sorce is the Executive Vice President of Resnicow and Associates (R+A), the leading national communications agency serving the arts. With more than 15 years of experience spearheading strategic communications campaigns for cultural organizations, Ms. Sorce has provided counsel to an international roster of clients, including The Frick Collection, The Israel Museum, Frieze Art Fairs, Park Avenue Armory, Institute of Contemporary Art in Philadelphia, the Helen Frankenthaler Foundation, Merce Cunningham Dance Foundation, and the Center for Curatorial Studies, Bard College, among many others. As R+A’s Executive Vice President, Ms. Sorce is a key member of the executive leadership team, overseeing company culture, policies, staffing, and growth. Ms. Sorce brings deep experience directing institutional communications programs for a broad range of visual art organizations, including museums, nonprofit foundations, art fairs, biennales, and galleries, focusing in particular on modern and contemporary art initiatives, new building and expansion programs, executive leadership transitions, and crisis communications.

Angie Brice Thomas , Founder & CEO, Brice Consulting Group, LLC

As the Founder and CEO of Brice Consulting Group LLC, Angie Brice Thomas brings over 15 years of expertise in diversity, equity, access, and inclusion (DEAI) work; anti-racist pedagogy; executive coaching; and diversity recruitment strategy. Angie’s impact began as a 5th-grade science teacher, where she led her students to achieve historic academic gains, in addition to being tapped for the ESL Teacher of the Year Award. Next, Angie went on to become a senior leader at Teach For America (TFA) for a decade, where she led high-performing teams to recruit the largest and most diverse corps in TFA history. As the leading producer of top and diverse talent in the country, Angie has presented on her diversity recruitment expertise at the Harvard Graduate School of Education’s Annual Alumni of Color Conference. Since then, she’s coached scores of organizations and C-Suite-level executives—in nonprofit, for-profit, start-up, and academia spaces—to engage in DEAI dialogues and anti-racism work, attract top and diverse talent, build inclusive cultures, and bolster employee performance. Next, as a sociologist by training, Angie marries real-time DEAI theory and practice by applying her learnings from Columbia University Teachers College, where she completed her MA. Angie’s clients include the Solomon R. Guggenheim Museum and Foundation, the Whitney Museum of American Art, MoMA PS1, the Jewish Museum, Harvard University, The Robertson Center at Success Academies, The International Institute of New England, Burton Snowboards, the International Documentary Association, and Plenty. An avid reader and foodie, Angie lives with her hubby and two kiddos, in Brooklyn, NY.

Akili Tommasino, Associate Curator, Modern and Contemporary Art, The Metropolitan Museum of Art

Akili Tommasino joined The Met in 2021. Previously, he held curatorial positions at the Museum of Fine Arts, Boston, and The Museum of Modern Art, New York. A former Fulbright Fellow at the Centre Pompidou, he is a PhD candidate at Harvard University, where he earned his MA and BA.

Lorilee Wastasecoot , Curator of Indigenous Art and Engagement, Legacy Art Gallery

Lorilee Wastasecoot is an Ininew iskwew. Lorilee’s ancestral roots stem from Peguis First Nation, York Factory, and the Red River, where she grew up in Winnipeg, MB. Lorilee then relocated to Victoria, BC, in 2010 to pursue her education and holds a degree in Political Science from the University of Victoria (UVIC). In 2021, Lorilee was given the inaugural title of Curator of Indigenous Art and Engagement at UVIC Legacy Art Gallery. She has curated major exhibitions such as We Carry our Ancestors (2019) and On Beaded Ground (2021) and is currently working on a solo exhibition, Walking Thru My Fires (2023), with Kwakwaka'wakw artist Francis Dick.

nico wheadon, Independent Arts Consultant, Curator, Educator, and Writer

nico wheadon is an independent arts consultant, curator, educator, and writer based in New Haven, CT. She is also Founder and Principal of the bldg fund, LLC; a visiting critic at the Yale School of Art; and a Board member at the National Academy of Design and the Arts Council of Greater New Haven. As a consultant, nico delivers cultural strategy to artist-entrepreneurs, cultural institutions, government agencies, and philanthropic foundations. In recent posts, nico served as Adjunct Professor of Art at Brown University, Barnard College, and Hartford Art School (2016–2021); Inaugural Executive Director of NXTHVN (2019–2020); Inaugural Director of Public Programs & Community Engagement at the Studio Museum in Harlem (2014–2019); Curatorial Director of Rush Arts Gallery (2007–2010); and Curatorial Assistant at The Studio Museum in Harlem (2006–2007). nico holds an MA in Creative and Cultural Entrepreneurship from Goldsmiths, University of London (2011), and a BA in Art–Semiotics from Brown University (2006).

2022 AAMC & AAMC Foundation

Board of Trustees

A sincere thank-you to our Board for their leadership and dedication.

Executive Committee

Tuliza Fleming

Interim Chief Curator of Visual Arts, National Museum of African American History and Culture Vice President, Inclusion & Outreach

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

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

Trustees at Large

Myrtis Bedolla

Founding Director, Galerie Myrtis

Wendy Chang Director, rennie museum

Lauren Haynes

Director of Curatorial Affairs, Queens Museum

Vice President, Fundraising

Elizabeth Morrison

Senior Curator of Manuscripts, J. Paul Getty Museum

Vice President, Governance & Nominating

Juliet Sorce

Senior Vice President, Resnicow and Associates Vice President, Advocacy

Daniel Belasco

Executive Director, Al Held Foundation

José Carlos Diaz Susan Brotman Deputy Director for Art, Seattle Art Museum

Beth Citron Independent Curator

Whitney Donhauser

Deputy Director and Chief Advancement Officer, The Metropolitan Museum of Art

William C. Gautreaux Managing Partner, MLP Holdings LLC

Lynda Roscoe Hartigan

Rose-Marie and Eijk van Otterloo

Executive Director and CEO, Peabody Essex Museum

Trustees at Large cont.

Wolfram Koeppe

Marina Kellen French Senior Curator, The Metropolitan Museum of Art

Soyoung Lee

Landon and Lavina Clay Chief Curator, Harvard Art Museums

Tanya Odom Program Director, Equity and Inclusion, Walton Family Foundation

Filiz Çakır Philip Curator

Awards Chair

Emily Kernan Rafferty President Emerita, The Metropolitan Museum of Art

E. Carmen Ramos Chief Curatorial and Conservation Officer, National Gallery of Art

Carolyn Royston Deputy Director for Engagement, Brooklyn Museum

Emeriti Trustee / Past Presidents

Christa Clarke

Independent Curator and Senior Advisor, Center for Curatorial Leadership

Past President, Trustee Emerita

Carol S. Eliel

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

Past President, Trustee Emerita

Marianne Lamonaca

Director of the Humanities Edge, Florida International University

Past President, Trustee Emerita

John Ravenal

Former Executive Director, deCordova Sculpture Park and Museum

Past President, Trustee Emeritus

Gary Tinterow

Director, The Museum of Fine Arts, Houston

Past President, Trustee Emeritus

Ex-Officio

John B. Koegel

Founder and Lawyer, The Koegel Group LLP; Counsel

Anne Collins Smith

Director, Xavier University of Louisiana Art Gallery Membership Chair

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

Past President, Trustee Emerita

Helen C. Evans

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

Past President, Trustee Emerita

Emily Ballew Neff Director, San Antonio Museum of Art

Past President, Trustee Emerita

George T.M. Shackelford

Deputy Director, Kimbell Art Museum

Past President, Trustee Emeritus

Judith Pineiro

Executive Director, AAMC & AAMC Foundation

AAMC & AAMC Foundation Committees

We are grateful to our committees for their volunteer services to our work.

Awards for Excellence Chair

Filiz Çakır Philip Curator

Board of Trustees, AAMC & AAMC Foundation

Benefit Committee

Laura Bardier

Executive Director, James Howell Foundation

Janis Gardner Cecil

President, JCG Fine Art LLC

Isabella Hutchinson

Director & Founder, Hutchinson Modern & Contemporary

Marianne Lamonaca

Director of the Humanities Edge, Florida International University

Past President, Trustee Emerita, AAMC & AAMC Foundation

Mary Kate O’Hare

Director and Senior Art Advisor, Citi Private Bank, Art Advisory & Finance

Vice President, Finance & Audit, Board of Trustees, AAMC & AAMC Foundation

Katherine Brinson

Daskalopoulos Curator, Contemporary Art, Solomon R. Guggenheim Museum

Lauren Haynes

Director of Curatorial Affairs and Programs, Queens Museum

Vice President, Fundraising, Board of Trustees, AAMC & AAMC Foundation

Betty Krulik

Owner, Betty Krulik Fine Art

Alexis Lowry

Curator, Dia Art Foundation

Chair, Benefit Committee

Finance & Audit Board Committee

Tuliza Fleming

Interim Chief Curator of Visual Arts, National Museum of African American History and Culture

Vice President, Inclusion & Outreach, Board of Trustees, AAMC & AAMC Foundation

Michelle Jacques

Head of Exhibitions & Collections/Chief Curator, Remai Modern

President, Board of Trustees, AAMC & AAMC Foundation

Mary-Kate O’Hare

Director and Senior Art Advisor, Citi Private Bank, Art Advisory & Finance

Vice President, Finance & Audit, Board of Trustees, AAMC & AAMC Foundation

Fundraising Committee

Andrew Barron

Director of Marketing, UOVO

Tricia Laughlin Bloom

Curator of American Art, The Newark Museum of Art

Lauren Haynes

Director of Curatorial Affairs, Queens Museum

Vice President, Fundraising, Board of Trustees, AAMC & AAMC Foundation

Monique Meloche

Owner & President, Monique Meloche Gallery

Lauren Haynes

Director of Curatorial Affairs, Queens Museum

Vice President, Fundraising, Board of Trustees, AAMC & AAMC Foundation

Elizabeth Morrison

Senior Curator of Manuscripts, J. Paul Getty Museum

Vice President, Governance & Nominating, Board of Trustees, AAMC & AAMC Foundation

Juliet Sorce

Senior Vice President, Resnicow and Associates

Vice President, Advocacy, Board of Trustees, AAMC & AAMC Foundation

Daniel Belasco

Executive Director, Al Held Foundation

Board of Trustees, AAMC & AAMC Foundation

Wendy Chang

Director, Rennie Collection

Board of Trustees, AAMC & AAMC Foundation

Emily Lenz

Director and Partner, D. Wigmore Fine Art

Co-Chair, Fundraising

Mary-Kate O’Hare

Director and Senior Art Advisor, Citi Private Bank, Art Advisory & Finance

Vice President, Finance & Audit, Board of Trustees, AAMC & AAMC Foundation

Carolyn Royston

Deputy Director for Engagement, Brooklyn Museum

Board of Trustees, AAMC & AAMC Foundation

Jamaal B. Sheats

Director and Curator of Galleries, Assistant Professor of Art, Carl Van Vechten

Art Gallery at Fisk University

AAMC & AAMC Foundation Committees

We are grateful to our committees for their volunteer services to our work.

Governance & Nominating Board Committee

Myrtis Bedolla

Founding Director, Galerie Myrtis

Board of Trustees, AAMC & AAMC Foundation

Marianne Lamonaca

Director of the Humanities Edge, Florida International University

Past President, Trustee Emerita, AAMC & AAMC Foundation

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

Vice President, Governance & Nominating, Board of Trustees, AAMC & AAMC Foundation

Lynda Roscoe Hartigan

Rose-Marie and Eijk van Otterloo Executive Director and CEO, Peabody Essex Museum

Board of Trustees, AAMC & AAMC Foundation

Soyoung Lee

Landon and Lavina Clay Chief Curator, Harvard Art Museums

Board of Trustees, AAMC & AAMC Foundation

Anne Collins Smith Director, Xavier University of Louisiana

Art Gallery

Board of Trustees, AAMC & AAMC Foundation

Membership Committee

René Paul Barilleaux

Head of Curatorial Affairs, McNay Art Museum Co-Chair, Membership Committee

Martina Dodd

Program Director, Curation and Object-Based Learning, Robert. R. Woodruff Library, Clark Atlanta University

Wolfram Koeppe Marina Kellen French Senior Curator, The Metropolitan Museum of Art Board of Trustees, AAMC & AAMC Foundation

Anne Collins Smith

Director, Xavier University of Louisiana Art Gallery Co-Chair, Membership Committee, Board of Trustees, AAMC & AAMC Foundation

Sarah Watson

Chief Curator, Hunter College Art Galleries

Tobi Bruce

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

Tuliza Fleming

Interim Chief Curator of Visual Arts, National Museum of African American History and Culture Vice President, Inclusion & Outreach, Board of Trustees, AAMC & AAMC Foundation

Filiz Çakır Philip Curator

Board of Trustees, AAMC & AAMC Foundation

theo tyson

Penny Vinik Curator of Fashion Arts, Museum of Fine Arts, Boston

Table 1, 1959, egg tempera on gessoed board, 24 x 28 in.

GEORGE TOOKER (1920–2011)

Dread Scott Goddam

April 2 8 - June 10, 2023

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, 2023

Foundations

Al Held Foundation

The Andrew W. Mellon Foundation

Art Fund

The Emily Hall Tremaine Foundation

The Getty Foundation

Helen Frankenthaler Foundation

Institute of Museum and Library Services

The Iris Foundation

Corporate

Absolute Museum & Gallery Products Ltd.

ADAA

Anthony Meier

Armstrong Fine Art Services

Bard Graduate Center

Betty Krulik Fine Art

Cristin Tierney Gallery

Debra Force Fine Art

DIETL International

Freeman’s Auction

Hauser & Wirth

Hutchinson Modern & Contemporary

James Howell Foundation

The Jay DeFeo Foundation

John S. and James L. Knight Foundation

Knight Foundation

Leon Levy Foundation

The Milton & Sally Avery Arts Foundation

National Endowment for the Arts

Terra Foundation for American Art

International Society of Appraisers

Jessica Silverman Gallery

Jonathan Boos

Kasmin Gallery

Lehmann Maupin

Masterpiece International

Miles McEnery Gallery

R & Company

Schoelkopf Gallery

Shannon’s Fine Art Auctioneers

Sotheby’s TEFAF

Individual Donors

PATRONS

Barbara Futter

Catherine Futter

PARTNERS

John Koegel

Evelyn & David Lasry

PRESIDENT’S CIRCLE

Nina del Rio

Lisa Dennison

Richard Green

BENEFACTOR CIRCLE

Graham C. Boettcher

Madhuvanti Ghose

Richard Green

Lynda Roscoe Hartigan

Shirley and Barnett Helzberg

Evelyn and David Lasry

Emily Lenz

María Eugenia Maury, El Museo del Barrio & Karla Harwich, El Museo del Barrio

John B. Ravenal

Bob Rennie

Susan Weber

Ann Yonemura

Julián Zugazagoitia

FRIEND CIRCLE

William R. Anderson

Hannah Byers

Cristopher Canizares

Wendy Chang

Jane Cohan

Kaywin Feldman

William Gautreaux

Madhuvanti Ghose

Rachel Lehmann & David

Maupin

Marjorie & Don Lenz

Rosa Lowinger

Zesty Meyers & Evan Snyderman

Katharine Richardson

Annemarie Sawkins

Andrew Schoelkopf

Isabel Wilcox

Annual Fund

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

Jessica Adler

Lynne Ambrosini

William Richard Anderson

Carolyn Angiolillo

Sharon Matt Atkins

René Paul Barilleaux

Andrea Bayer

Barbara Buff

Christa Clarke

Suzi Rudd Cohen

Giulia Colletti

Deborah Cullen-Morales

Helen C. Evans

Adriana Farietta

Linda Ferber

Pauline Forlenza

Anne Collins Goodyear

Jared Goss

Alison de Lima Greene

Gloria Groom

Lynda Hartigan

Cody Hartley

Christina Hellmich

Mr. & Mrs. Michael J. Horvitz

Michael Hughes

Ronald Jarashow

Sarah Kianovsky

Wolfram Koeppe

Mr. Nahum Lainer and Mrs. Alice Lainer

Anthony Lamonaca

Ellen Lee

Emily Lenz

Mary-Kay Lombino

Rosa Lowinger

Charles Griffith Mann

Judith Walker Mann

Jen Mergel

Tanya Odom

Louis-Marie Pandzou

Jennifer Casler Price

E. Carmen Ramos

Tracy Rector

Bob Rennie

Annemarie Sawkins

Mark Scala

Marianna Shreve Simpson

Joaneath Spicer

Karol Wight

Isabel Wilcox

Ram Xasa

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, 2023

Addison Gallery of American Art

Akron Art Museum

Amon Carter Museum of American Art

The Andy Warhol Museum

Arkansas Museum of Fine Arts

Art Gallery of Nova Scotia

Art Institute of Chicago

August Wilson African American Cultural Center

The Baltimore Museum of Art

The Barnes Foundation

Birmingham Museum of Art

Blanton Museum of Art

Charles Hosmer Morse Museum of American Art

Chazen Museum of Art, University of Wisconsin-Madison

Cincinnati Art Museum

The Cleveland Museum of Art

Colby College Museum of Art

Contemporary Arts Museum, Houston

Corning Museum of Glass

Crow Museum of Asian Art at the University of Texas, Dallas

Currier Museum of Art

David Owsley Museum of Art

deCordova Sculpture Park and Museum

Delaware Art Museum

The Denver Art Museum

Edo Museum of the West African Art

Fine Arts Museums of San Francisco

The Fralin Museum of Art at the University of Virginia

The Frances Young Tang Teaching Museum and Art Gallery

The Frick Collection

The Frick Pittsburgh

Frist Art Museum

Georgia O’Keeffe Museum

Grounds for Sculpture

Hammer Museum of Art

Harvard Art Museums

Herbert F. Johnson Museum of Art

Honolulu Museum of Art

Hood Museum of Art

J. Paul Getty Museum

Jane Voorhees Zimmerli Art Museum

The Jewish Museum

Jule Collins Smith Museum of Fine Art

Kimbell Art Museum

Los Angeles County Museum of Art

Meadows Museum

Memphis Brooks Museum of Art

The Metropolitan Museum of Art

Mildred Lane Kemper Art Museum

Minneapolis Institute of Art

Montreal Museum of Fine Arts

Munson-William Proctor Art Institute

Museum of Art, Rhode Island School of Design

Museum of Contemporary Art, Jacksonville

Museum of Fine Arts, Houston

The Museum of Modern Art

Nasher Museum of Art

Nasher Sculpture Center

National Palace Museum

The Nelson-Atkins Museum of Art

The Newark Museum of Art

Newfields

New Orleans Museum of Art

North Carolina Museum of Art

The Palmer Museum of Art

Peabody Essex Museum

Phi Foundation for Contemporary Art

Philadelphia Museum of Art

Phoenix Art Museum

Picker Art Gallery, Colgate University

Pointe-à-Callière, cité d'archéologie et d'histoire de Montréal

Princeton University Art Museum

Remai Modern

Saint Louis Art Museum

San Antonio Museum of Art

San Diego Museum of Art

Sarasota Art Museum

Scottsdale Museum of Contemporary Art

Seattle Art Museum

Smithsonian American Art Museum

Solomon R. Guggenheim Museum

University of Michigan Museum of Art

Virginia Museum of Fine Arts

Wadsworth Atheneum Museum of Art

Tacoma Art Museum

Toledo Museum of Art

Weatherspoon Art Museum

Wellin Art Museum, Hamilton College

Whitney Museum of American Art

Wichita Art Museum

Williams College Museum of Art

Winterthur Museum, Garden and Library

Yale University Art Gallery

Association of Art Museum Curators & AAMC Foundation