AAMC @ 15: Moving Forward 2016 Annual Conference by AAMC & AAMC Foundation

CONTENTS

PRESIDENT’S WELCOME

EXECUTIVE DIRECTOR’S WELCOME

2015 – 2016 AAMC & AAMC FOUNDATION LEADERSHIP

AAMC & AAMC FOUNDATION SUPPORTERS

AAMC FOUNDATION CIRCLE DONORS

AAMC FOUNDATION ANNUAL FUND DONORS

AAMC INSTITUTIONAL MEMBERS

CONFERENCE SPONSORS & SUPPORTERS

SCHEDULE IN BRIEF

KEYNOTE IN-CONVERSATION

THE ART OF CHANGE

WEEKEND ACTIVITY DETAILS

CONFERENCE SESSION DETAILS

ROUNDTABLE TOPICS & LEADERS

AWARDS FOR EXCELLENCE

MENTORSHIP PROGRAM

AAMC & AAMC FOUNDATION PROGRAMS

SPEAKER, PANELIST & PRESENTER BIOGRAPHIES

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. Images: Courtesy of Isaac James Creative, Meredith Dean, and Judith Pineiro Design: Tomoko Takahashi / Studio TOTA

PRESIDENT’S WELCOME

Welcome to our annual Association of Art Museum Curators (AAMC) & AAMC Foundation meeting – fifteen years and so much has happened to us and to museums worldwide! As we meet in Houston, we celebrate our past and all that AAMC has done, and is doing, to assist curators in being leading participants in the evolution, maybe even revolution, of the museum field. We seek, through our 1300 members and growing, to be representative of curators in all fields working in art museums and related institutions of all types, and those working independently. Members now come from the United States and around the world, as they should in a time where international exchanges are increasingly prevalent. Our anniversary meeting enthusiastically seeks to acknowledge the diversity of fields, organizational types, and overall variety of curatorial and institutional perspectives through the choice of museums and institutions we will visit and the sessions we are presenting. It is most appropriate that our host is the Museum of Fine Arts, Houston (MFAH). Gary Tinterow, its director who is leading the innovative changes here, was, as most of you know, AAMC’s first president. He was a leading figure in bringing AAMC & AAMC Foundation into existence and in guiding many of our first years. We immensely appreciate his efforts on our behalf and his welcoming us to Houston in this anniversary year.

We also appreciate the generosity extended to us by the Asia Society Texas Center, the site of our Tuesday programming, and The Menil Collection, which is hosting our Awards for Excellence Celebration. In addition, we are grateful to all our hosts, each demonstrating the exciting array of Houston’s cultural sphere, listed in alphabetical order: Aurora Picture Show, Bayou Bend Collection and Gardens (MFAH), Blaffer Art Museum of the University of Houston, Contemporary Arts Museum Houston, DiverseWorks, The Menil House (part of The Menil Collection), Project Row Houses, Rice University Art Gallery, Rienzi (MFAH), and The University Museum at Texas Southern University. This year our keynote presentation is an in-conversation between Darren Walker, President of the Ford Foundation, and Hilton Als, staff writer and theater critic for The New Yorker. Darren Walker is a leading force in making changes relevant to all cultural institutions, and I know we all look forward to the insights the discussion will yield. Most of all, please use this meeting to learn and to talk with each other and to us – the Board and Staff of AAMC & AAMC Foundation – about your ideas for the future and how we can help you reach them. I want to thank the Conference Committee for all they have done to make our fifteenth anniversary an outstanding conference. In the tradition of all our past presidents, most recently Emily Ballew Neff last year, I welcome you to Houston!

HELEN C. EVANS

President, AAMC & AAMC Foundation Mary & Michael Jaharis Curator for Byzantine Art, The Metropolitan Museum of Art

EXECUTIVE DIRECTOR’S WELCOME

Welcome to Houston and our 15th Annual Conference & Meeting, AAMC @ 15: Moving Forward. The choice to use Moving Forward was an important and deliberate one. In honoring a significant anniversary, we wanted to highlight what is ahead for our organizations, the curatorial profession, and larger visual arts communities. This decision was motivated and inspired by our ambitious Strategic Plan approved in 2015 by the leadership of the AAMC & AAMC Foundation, generously supported by The Walton Family Foundation. Our vision statement, the focal point of the Strategic Plan, is “to celebrate, advance, and advocate for the art curatorial profession,” which we are reinforcing through the plan’s pillars of advocacy and diversity. I am proud to share that our Diversity Task Force held its first meeting in August, where the group unanimously decided to make an addition to our Conference program by organizing a session, Diversifying the Curatorial Profession: How the Internship/ Fellowship Track Can Be Our Essential Path Toward Change. Further strengthening our commitment to the Task Force’s efforts, the group was given a voice during the selection review process for all Conference session panelists. In addition, the Board approved the Diversity Task Force’s policy, which is being applied to every aspect of our activities: “All of AAMC & AAMC Foundation programming and overall efforts shall strive to be representative of diversity: across selfidentifications (by nation, gender, creed, race), fields of expertise, types of institutional mission, and regional position of participants. The more diverse our voices, the more dynamic our offerings.”

Our Advocacy Task Force has been actively organizing our ability to make statements to the public and press, and is working towards a public definition of art curator. With our Marketing and Communications Committee, we are launching a #curatorQnA series, consisting of interviews with and/or by curators to be disseminated on our robust social media outlets and website, artcurators.org. Within advocacy, we know that it is of the utmost importance to ensure the curatorial voice is given an integral role in the global discourse among museum professionals, and the best way to achieve that is to facilitate connections curator-to-curator, which was the inspiration for opening AAMC membership internationally. To advance our international outreach, I am excited to announce the Terra International Fellowship with the Association of Art Museum Curators (AAMC) Foundation, which you can read more about within this Conference catalog. Lastly, we are continuing to expand upon our programming, tackling timely topics of importance to our members, including our new Roundtable sessions at the Conference, additional webinars, programming, access to events produced by our partners, and later in 2016, regional events. All of us at AAMC & AAMC Foundation are thrilled about what we are doing for our members, supporters, and community, and look ahead with your encouragement and involvement at the forefront of all we do. We are thankful to all who have made this Conference possible, especially our Conference Committee, host institutions, sponsors, and presenters.

JUDITH PINEIRO

Executive Director, AAMC & AAMC Foundation

2015 â&#x20AC;&#x201C; 2016 AAMC & AAMC FOUNDATION LEADERSHIP A sincere thank you to our Board of Trustees, Committees, and Task Forces for their volunteer efforts on behalf of AAMC & AAMC Foundation. All listings below are alphabetical.

BOARD OF TRUSTEES EXECUTIVE COMMITTEE GRAHAM C. BOETTCHER, Deputy Director & The William Cary Hulsey Curator of American Art, Birmingham Museum of Art; Vice President, Finance, Board of Trustees CHRISTA CLARKE, Senior Curator, Arts of Global Africa, Newark Museum; Vice President, Programs, Board of Trustees HELEN C. EVANS, Mary & Michael Jaharis Curator of Byzantine Art, The Metropolitan Museum of Art; President, Board of Trustees MARIANNE LAMONACA, Associate Gallery Director & Chief Curator, Bard Graduate Center Gallery; Vice President, Communications, Board of Trustees GEORGIANA UHLYARIK, Associate Curator, Canadian Art, Art Gallery of Ontario; Vice President, Governance, Board of Trustees

TRUSTEES AT-LARGE PAOLA ANTONELLI, Senior Curator in the Department of Architecture & Design, and Director, Research & Development, The Museum of Modern Art SANDRA Q. FIRMIN, Director & Chief Curator, Colorado University Art Museum RITA E. FREED, John F. Cogan & Mary L. Cornille Chair, Art of the Ancient World, Museum of Fine Arts, Boston CATHERINE L. FUTTER, Director of Curatorial Affairs, The Nelson-Atkins Museum of Art; Career Support Committee Member ALISON DE LIMA GREENE, Isabel Brown Wilson Curator, Department of Modern & Contemporary Art, Museum of Fine Arts, Houston; Conference Committee Co-Chair; Governance & Nominating Committee Member MICHELLE HARGRAVE, Curator, American Federation of Arts; Membership Committee Co-Chair LYNDA ROSCOE HARTIGAN, The James B. & Mary Lou Hawkes Deputy Director, Peabody Essex Museum; Advocacy Task Force Co-Leader BENJAMIN M. HICKEY, Curator of Collections & Exhibitions, Masur Museum of Art; Marketing & Communications Committee Co-Chair JEN MERGEL, Robert L. Beal, Enid L. Beal, and Bruce A. Beal Senior Curator of Contemporary Art, Museum of Fine Arts, Boston; Diversity Task Force Co-Leader; Professional Development Committee Co-Chair MARY G. MORTON, Curator & Head of Department, French Paintings, National Gallery of Art; Finance & Audit Committee & Fundraising Initiatives Member MARINA PACINI, Chief Curator & Curator of American, Modern & Contemporary Art, Memphis Brooks Museum of Art; Professional Development Committee Member CAROLYN PUTNEY, Chief Curator, Curator of Asian Art (Retired, February 2015), Consulting Curator, Toledo Museum of Art; Prize Committee Chair WILLIAM KEYSE RUDOLPH, Andrew W. Mellon Foundation Chief Curator & Marie & Hugh Halff Curator of American Art, San Antonio Museum of Art MARK SCALA, Chief Curator, Frist Center for Visual Arts ELIZABETH SMITH, Executive Director, Helen Frankenthaler Foundation; Finance & Audit Committee & Fundraising Initiatives Co-Chair MARTHA TEDESCHI, Deputy Director for Art & Research, Art Institute of Chicago; Governance & Nominating Committee Co-Chair

EMERITI & EX OFFICIO TRUSTEES ELIZABETH W. EASTON, Co-Founder & Director, Center for Curatorial Leadership; Trustee Emerita, Past President CAROL S. ELIEL, Curator of Modern Art, Los Angeles County Museum of Art; Trustee Emerita, Past President JOHN B. KOEGEL, Founder & Lawyer, The Koegel Group LLP; Ex Officio EMILY BALLEW NEFF, Executive Director, Memphis Brooks Museum of Art; Trustee Emerita, Past President JUDITH PINEIRO, Executive Director, AAMC & AAMC Foundation; Ex Officio JOHN RAVENAL, Executive Director, deCordova Sculpture Park & Museum; Trustee Emeritus, Past President GEORGE T.M. SHACKELFORD, Deputy Director, Kimbell Art Museum; Trustee Emeritus, Past President; Governance & Nominating Committee Member; Advocacy Task Force Member GARY TINTEROW, Director, Museum of Fine Arts, Houston; Trustee Emeritus, Past President 4

COMMITTEES CAREER SUPPORT COMMITTEE ANDALEEB BADIEE BANTA, Curator of European & American Art, Allen Memorial Art Museum, Oberlin College; Career Support Committee Co-Chair CHRISTA CLARKE, Senior Curator, Arts of Global Africa, Newark Museum; Vice President, Programming, Board of Trustees; Diversity Task Force Co-Leader; Career Support, Conference & Professional Development Committees EC Representative CATHERINE L. FUTTER, Director of Curatorial Affairs, The Nelson-Atkins Museum of Art; Board of Trustees MICHELLE JACQUES, Chief Curator, Art Gallery of Greater Victoria MARY-KAY LOMBINO, The Emily Hargroves Fisher â&#x20AC;&#x2DC;57 & Richard B. Fisher Curator & Assistant Director, The Frances Lehman Loeb Art Center, Vassar College; Career Support Committee Co-Chair RUSSELL LORD, Freeman Family Curator of Photographs, New Orleans Museum of Art CHRISTINA NIELSEN, Curator of the Collection, Isabella Stewart Gardner Museum PAULA RICHTER, Curator of Exhibitions & Research, Peabody Essex Museum ELLEN ROBERTS, Harold & Anne Berkley Smith Curator of American Art, Norton Museum of Art KLAUDIO RODRIGUEZ, Curator, The Patricia & Phillip Frost Art Museum, Florida International University LAUREN ROSS, Curator, Institute for Contemporary Art, Virginia Commonwealth University CLAIRE SCHNEIDER, Independent Curator, Founder & Director, CS1 Curatorial Projects JERRY N. SMITH, Hazel & William Hough Chief Curator, Museum of Fine Arts, St. Petersburg, Florida SASHA SUDA, Curator & R. Fraser Elliott Chair of the Prints & Drawings Council, Art Gallery of Ontario CATHERINE WHITNEY, Chief Curator & Curator of American Art, Philbrook Museum of Art ELIZABETH A. WILLIAMS, David & Peggy Rockefeller Curator of Decorative Arts & Design, Museum of Art, Rhode Island School of Design

2015 – 2016 AAMC & AAMC FOUNDATION LEADERSHIP (CONT’D)

CONFERENCE COMMITTEE NANCY BLOMBERG, Chief Curator & Curator of Native Arts, Denver Art Museum MELISSA BURON, Associate Curator, European Art, Fine Arts Museums of San Francisco CHRISTINA CHANG, Director & Curator, Perlman Teaching Museum, Carleton College CHRISTA CLARKE, Senior Curator, Arts of Global Africa, Newark Museum; Vice President, Programming, Board of Trustees; Diversity Task Force Co-Leader; Career Support, Conference & Professional Development Committees EC Representative MALCOLM DANIEL, Gus and Lyndall Wortham Curator of Photography, Museum of Fine Arts, Houston XANDRA EDEN, Executive Director & Chief Curator, DiverseWorks HILLIARD TODD GOLDFARB, Senior Curator, Collections, Curator of Old Masters, Montreal Museum of Fine Arts ALISON DE LIMA GREENE, Isabel Brown Wilson Curator, Department of Modern & Contemporary Art, Museum of Fine Arts, Houston; Board of Trustees; Conference Committee Co-Chair; Governance & Nominating Committee Member C. GRIFFITH MANN, Michael David-Weill Curator in Charge, Department of Medieval Art & The Cloisters, The Metropolitan Museum of Art; Conference Committee Co-Chair VALERIE CASSEL OLIVER, Senior Curator, Contemporary Arts Museum, Houston E. CARMEN RAMOS, Curator for Latino Art, Smithsonian American Art Museum JOANNA MONTOYA ROBOTHAM, Curator of Modern & Contemporary Art, Tampa Museum of Art STACI STEINBERGER, Assistant Curator, Decorative Arts & Design, Los Angeles County Museum of Art BART THURBER, Associate Director for Collections & Exhibitions, Princeton University Art Museum MICHELLE WHITE, Curator, The Menil Collection

FINANCE & AUDIT COMMITTEE & FUNDRAISING INITIATIVES RENÉ PAUL BARILLEAUX, Chief Curator & Curator of Art after 1945, McNay Art Museum GRAHAM C. BOETTCHER, Deputy Director & The William Cary Hulsey Curator of American Art, Birmingham Museum of Art; Vice President, Finance, Board of Trustees MARGI CONRADS, Director of Curatorial Affairs, Crystal Bridges Museum of American Art; Diversity Task Force Member SOYOUNG LEE, Associate Curator, Department of Asian Art, The Metropolitan Museum of Art MARY G. MORTON, Curator & Head of Department, French Paintings, National Gallery of Art; Board of Trustees BRADY ROBERTS, Chief Curator, Milwaukee Museum of Art PETER SCHERTZ, Jack & Mary Ann Frable Curator of Ancient Art, Virginia Museum of Fine Arts BRIAN SHOLIS, Curator of Photography, Cincinnati Art Museum ELIZABETH SMITH, Executive Director, Helen Frankenthaler Foundation; Board of Trustees; Finance & Audit Committee & Fundraising Initiatives Co-Chair

GOVERNANCE & NOMINATING COMMITTEE JOHN COFFEY, Deputy Director & Curator of American & Modern Art, North Carolina Museum of Art ALISON DE LIMA GREENE, Isabel Brown Wilson Curator, Department of Modern & Contemporary Art, Museum of Fine Arts, Houston; Board of Trustees; Conference Committee Co-Chair; Governance & Nominating Committee Member ANNE LEONARD, Curator & Associate Director, Smart Museum of Art, University of Chicago NADINE ORENSTEIN, Curator-in-Charge, Drawings & Prints, The Metropolitan Museum of Art GEORGE T.M. SHACKELFORD, Deputy Director, Kimbell Art Museum; Trustee Emeritus, Past President; Advocacy Task Force Member HAEMA SIVANESAN, Curator, Art Gallery of Greater Victoria JESSICA TODD SMITH, Virginia Steele Scott Curator of American Art, Huntington Library, Art Collections & Botanical Gardens MARTHA TEDESCHI, Deputy Director for Art & Research, Art Institute of Chicago; Board of Trustees; Governance & Nominating Committee Co-Chair GEORGIANA UHLYARIK, Associate Curator, Canadian Art, Art Gallery of Ontario; Vice President, Governance; Advocacy Task Force Member; Membership Committee Member

MARKETING & COMMUNICATIONS COMMITTEE SHARON MATT ATKINS, Vice Director of Exhibitions & Collections Management, Brooklyn Museum ANDRﾃ右 BOBER, Director, Landmarks, University of Texas at Austin KELLY CONWAY, Curator of American Glass, Corning Museum of Glass BENJAMIN HICKEY, Curator of Collections & Exhibitions, Masur Museum of Art; Board of Trustees; Marketing & Communications Committee Co-Chair MARIANNE LAMONACA, Associate Gallery Director & Chief Curator, Bard Graduate Center Gallery; Vice President, Communications, Board of Trustees; Membership Committee EC Representative MONICA OBNISKI, Demmer Curator of 20th & 21st Century Design, Milwaukee Art Museum KERRY OLIVER-SMITH, Curator of Contemporary Art, Samuel P. Harn Museum of Art, University of Florida SARAH ROBERTS, Andrew W. Mellon Associate Curator of Painting & Sculpture, San Francisco Museum of Modern Art SARAH SCHLEUNING, Curator of Decorative Arts & Design, High Museum of Art ASHLEE WHITAKER, Curator of Religious Art, Brigham Young University Museum of Art

MEMBERSHIP COMMITTEE ROCIO ARANDA-ALVARADO, Curator, El Museo del Barrio EMILY A. BEENY, Associate Curator, Norton Simon Museum ADRIANA GALLEGOS, Chief Curator, Museo Arocena MADHUVANTI GHOSE, Alsdorf Associate Curator of Indian, Southeast Asian, Himalayan & Islamic Art, Art Institute of Chicago MICHELLE HARGRAVE, Curator, American Federation for the Arts; Board of Trustees; Membership Committee Co-Chair LAUREN OLIVIA HAYNES, Associate Curator, Permanent Collection, The Studio Museum in Harlem CHIYO ISHIKAWA, Susan Brotman Deputy Director for Art & Curator of European Painting & Sculpture, Seattle Art Museum; Membership Committee Co-Chair MARIANNE LAMONACA, Associate Gallery Director & Chief Curator, Bard Graduate Center Gallery; Vice President, Communications, Board of Trustees; Membership Committee EC Representative XERXES MAZDA, Director of Collections, National Museums Scotland SARAH KELLY OEHLER, Gilda & Henry Buchbinder Associate Curator of American Art, Art Institute of Chicago P. ANDREW SPAHR, Director of Collections & Exhibitions, Currier Museum of Art THAYER TOLLES, Marica F. Vilcek Curator of American Paintings & Sculpture, The Metropolitan Museum of Art DIALA TOURE, Curator of Collections, James E. Lewis Museum of Art GEORGIANA UHLYARIK, Associate Curator, Canadian Art, Art Gallery of Ontario; Vice President, Governance, Board of Trustees; Advocacy Task Force Member MICHELLE JOAN WILKINSON, Museum Curator, Smithsonian National Museum of African American History & Culture; Diversity Task Force Member

2015 – 2016 AAMC & AAMC FOUNDATION LEADERSHIP (CONT’D)

PRIZE COMMITTEE MATTHEW AFFRON, Curator of Modern Art, Philadelphia Museum of Art ALISON AMICK, Independent Curator RICHARD ASTE, Curator of European Art, Brooklyn Museum DANIEL FINAMORE, Russell W. Knight Curator of Maritime Art, Peabody Essex Museum VIVIEN GREENE, Senior Curator, 19th & Early 20th-Century Art, Solomon R. Guggenheim Museum ERIKA HOLMQUIST-WALL, Curator of Paintings & Sculpture, The Speed Art Museum AIMEE MARCEREAU DEGALAN, Chief Curator & Curator of Collections & Exhibitions, The Dayton Art Institute JENNIFER OLIVAREZ, Curator of Decorative Arts & Design, Minneapolis Institute of Arts KATHERINE ANNE PAUL, Curator, Arts of Asia, Newark Museum CAROLYN PUTNEY, Chief Curator, Curator of Asian Art (Retired, February 2015), Consulting Curator, Toledo Museum of Art; Board of Trustees; Prize Committee Chair ELIZABETH SEMMELHACK, Senior Curator, The Bata Shoe Museum

PROFESSIONAL DEVELOPMENT COMMITTEE BETH CITRON, Curator, Modern & Contemporary Art, Rubin Museum of Art CHRISTA CLARKE, Senior Curator, Arts of Global Africa, Newark Museum; Vice President, Programming, Board of Trustees; Diversity Task Force Co-Leader; Career Support, Conference & Professional Development Committees EC Representative DEJAY DUCKETT, Associate Director, Arthur Ross Gallery, University of Pennsylvania CLAUDIA EINECKE, Independent Curator & Metadata Specialist II, Editor of German Sales Catalogues, 1900-1930, Getty Research Institute JENNIFER FARRELL, Associate Curator, The Metropolitan Museum of Art TRACEE GLAB, Curator of Collections & Exhibitions, Flint Institute of Arts TRINITA KENNEDY, Curator, Frist Center for the Visual Arts JEN MERGEL, Robert L. Beal, Enid L. Beal, and Bruce A. Beal Senior Curator of Contemporary Art, Museum of Fine Arts, Boston; Board of Trustees; Professional Development Committee Co-Chair; Diversity Task Force Co-Leader MARINA PACINI, Chief Curator & Curator of American, Modern & Contemporary Art, Memphis Brooks Museum of Art; Board of Trustees MARISA PASCUCCI, Curator of Collections, Boca Raton Museum of Art ADRIANA PROSER, Senior Curator of Traditional Asian Art, Asia Society & Museum JENNIFER SCANLAN, Exhibitions & Curatorial Director, Oklahoma Contemporary; Professional Development Committee Co-Chair PATRICIA WATTS, Founder & Curator, ecoartspace

TASK FORCES ADVOCACY TASK FORCE JANE A. DINI, Associate Curator of Paintings & Sculpture, The American Wing, The Metropolitan Museum of Art JUDITH HOOS FOX, Independent Curator, C2-curatorsquared LYNDA ROSCOE HARTIGAN, The James B. & Mary Lou Hawkes Deputy Director, Peabody Essex Museum; Board of Trustees; Advocacy Task Force Co-Leader JENNIFER CASLER PRICE, Curator for Asian & Non-Western Art, Kimbell Art Museum; Advocacy Task Force Co-Leader GEORGE T.M. SHACKELFORD, Deputy Director, Kimbell Art Museum; Trustee Emeritus, Past President; Governance & Nominating Committee Member GEORGIANA UHLYARIK, Associate Curator, Canadian Art, Art Gallery of Ontario; Vice President, Governance; Membership Committee Member

DIVERSITY TASK FORCE CHRISTA CLARKE, Senior Curator, Arts of Global Africa, Newark Museum; Vice President, Programming, Board of Trustees; Diversity Task Force Co-Leader; Career Support, Conference & Professional Development Committees EC Representative MARGI CONRADS, Director of Curatorial Affairs, Crystal Bridges Museum of American Art; Finance & Audit Committee & Fundraising Initiatives Member DEBORAH CULLEN-MORALES, Director & Chief Curator, The Miriam & Ira D. Wallach Art Gallery, Columbia University KIMBERLI GANT, Andrew W. Mellon Fellow for the Arts of Global Africa, Newark Museum JEN MERGEL, Robert L. Beal, Enid L. Beal, and Bruce A. Beal Senior Curator of Contemporary Art, Museum of Fine Arts, Boston; Board of Trustees; Professional Development Committee Co-Chair; Diversity Task Force Co-Leader JUDITH PINEIRO, Executive Director, AAMC & AAMC Foundation; Ex Officio MICHELLE JOAN WILKINSON, Museum Curator, Smithsonian National Museum of African American History & Culture; Membership Committee Member

STAFF MEREDITH DEAN, Administrator JUDITH PINEIRO, Executive Director

SOTHEBY’S IS PLEASED TO SUPPORT THE 15TH ANNUAL AAMC & AAMC FOUNDATION CONFERENCE & MEETING

Committed to the Success of the World’s Great Museums We assist museums of all sizes and collecting categories with deaccessions, private sales, buying at auction, valuations, cultivation events, and catalogue subscriptions. Enquiries +1 212 894 1138. sothebys.com/museumservices SOTHEBY’S, INC. LICENSE NO. 1216058. © SOTHEBY’S, INC. 2016

Through our dedicated Museum Services program, Bonhams has raised over $100 million through the sale of vetted deaccessions for hundreds of partner institutions in recent years. By supporting the deaccession protocols of the AAM, AAMD and ALA, we have built longstanding and successful relationships with museum directors and trustees across North America. For further information about consigning to upcoming auctions, please contact: Dr. Martin Gammon +1 (202) 333 1696 martin.gammon@bonhams.com Alan Fausel +1 (212) 644 9039 alan.fausel@bonhams.com

WALTER UFER Indian Entertainer Sold for $1,025,000 on behalf of a University Museum

AAMC & AAMC FOUNDATION SUPPORTERS

The AAMC Foundation is immensely grateful to the following for their year-round support of our mission.

The Broad Art Foundation

The Iris Foundation

We are grateful to Sotheby’s for their lead corporate support of this year’s Conference.

AAMC FOUNDATION CIRCLE DONORS

Circle level donors support the AAMC Foundation’s programming. We are grateful for their support, and applaud their passion for the curatorial profession. CIRCLE LEVELS INFORMATION

CIRCLE DONORS (April 1, 2015 – April 1, 2016)

PRESIDENT’S CIRCLE

PRESIDENT’S CIRCLE Peter Barnet Lisa Dennison Agnes Gund Mr. & Mrs. Spencer Hays

Alice L. Walton Michael & Stark Ward John C. Weber

LEADERSHIP CIRCLE Anonymous Emily Braun Melissa Chui Helen C. Evans Lynda Roscoe Hartigan Betty Krulick Melissa Lazarov

Ed Marquand Cynthia Polsky John B. Ravenal Almine Ruiz-Picasso Bob Scharfenstein Elizabeth Smith Susan Weber

CURATOR’S CIRCLE Lynne Ambrosini Dita Amory Stephanie Barron Graham C. Boettcher Christa Clarke Elliott Bostwick Davis Elizabeth Easton Carol S. Eliel Catherine Evans Sandra Firmin Catherine L. Futter Alison de Lima Greene Gloria Groom Benjamin M. Hickey 14

Frederick Ilchman Norman Kleeblatt Wolfram Koeppe Marianne Lamonaca Jen Mergel Mary G. Morton Emily Ballew Neff Mark Scala Lowery Stokes Sims Cindi Strauss Martha Tedeschi Stephan Wolohojian Ann Yonemura

$5,000 & above annually • Invitation to a private lunch and exhibition tour with AAMC President • Invitation to attend the Annual Circle Donor Dinner • Complimentary admission to the Annual Conference and surrounding events • Invitations to programs and special events, as accessibility permits • Subscription to AAMC’s e-newsletter • Recognition of support The President’s Circle supports, in part, AAMC’s Mentorship Program.

LEADERSHIP CIRCLE

$2,500 annually • Invitation to attend the Annual Circle Donor Dinner • Complimentary admission to the Annual Conference and surrounding events • Invitations to programs and special events, as accessibility permits • Subscription to AAMC’s e-newsletter • Recognition of support The Leadership Circle supports, in part, AAMC’s Professional Development activities.

CURATOR’S CIRCLE $500 annually

(AAMC current and retired members are eligible for this level of support)

• Invitation for one to attend the Annual Circle Donor Dinner • Complimentary admission to the Annual Conference and surrounding events • Advance registration for programs and special events, as accessibility permits • Subscription to AAMC’s e-newsletter • Recognition of support

AAMC FOUNDATION ANNUAL FUND DONORS

We are grateful to all our Annual Fund donors for their support. (April 1, 2015 – April 1, 2016)

Richard Aste Katharine Baetjer René Paul Barilleaux Andrea Bayer Frances Beatty Emily Ann Beeny Nathalie Bondil Jason Busch Christa Clarke Peter Cohen Deborah Cullen-Morales Lisa Dennison Susan Earle Catherine L. Futter John Stuart Gordon Raymond J. Harbert Michelle Hargrave Shirley Bush Helzberg James and Sallie Johnson Barbara L. Jones Neil Karbank Sarah B. Kianovsky

Wolfram Koeppe Frank Lloyd Glenn D. Lowry Karen Manchester Jay McKean Fisher Joan R. Mertens Philippe de Montebello Ugochukwu-Smooth Nzewi Marina Pacini Constantijn Petridis Jordana Pomeroy Jennifer Casler Price Emily Rauh Pulitzer Carolyn Putney Emily K. Rafferty Pam and Bill Royall David S. Rubin Jon Seydl Patterson Sims Ann Temkin Anne Umland

AAMC INSTITUTIONAL MEMBERS AAMC’s institutional members provide critical support for our organization. By being an institutional member the museums and organizations below are highlighting their commitment to the curatorial profession and their desire to see it flourish. (April 1, 2015 – April 1, 2016)

Addison Gallery of American Art Akron Art Museum Judith & Norman Alix Art Gallery American Craftsman Museum Arkansas Art Center Art Gallery of Greater Victoria Art Gallery of Ontario Art Institute of Chicago The Baltimore Museum of Art The Barnes Foundation Birmingham Museum of Art Boca Raton Museum of Art Brandywine River Museum Memphis Brooks Museum of Art Michael C. Carlos Museum Center for the Arts, Wesleyan University Sterling & Francine Clark Art Institute The Cleveland Museum of Art Colby College Museum of Art The Colonial Williamsburg Foundation Contemporary Art Museum, University of Southern Florida Cornell Fine Arts Museum Corning Museum of Glass Crocker Art Museum Cunningham Memorial Library and University Art Gallery Currier Museum of Art Davis Museum & Cultural Center deCordova Sculpture Park and Museum Delaware Art Museum

Denver Art Museum Dixon Gallery & Gardens The Drawing Center Nora Eccles Harrison Museum of Art The Fralin Museum of Art at the University of Virginia The Frick Collection Frist Center for the Visual Arts Fuller Craft Museum Isabella Stewart Gardner Museum Solomon R. Guggenheim Museum Halsey Institute of Contemporary Art Hammer Museum Harvard Art Museums Henry Art Gallery Hillwood Estate, Museum & Gardens Hood Museum of Art The Jewish Museum Mildred Lane Kemper Art Museum Kimbell Art Museum Knoxville Museum of Art Los Angeles County Museum of Art Maryhill Museum of Art McKissick Museum Mead Art Museum Meadows Museum, Southern Methodist University The Metropolitan Museum of Art Minneapolis Institute of Art Mississippi Museum of Art MIT List Visual Arts Center

Montreal Museum of Fine Arts Mount Holyoke College Art Museum Museo Soumaya & Fundación Carlos Slim Museum of Contemporary Art Jacksonville Museum of Fine Arts, Boston Museum of Fine Arts, Houston The Museum of Modern Art Museum of Northwest Art Museum of Wisconsin Art Nasher Museum of Art at Duke University Nasher Sculpture Center National Gallery of Art National Gallery of Canada The Nelson-Atkins Museum of Art Nevada Museum of Art New Orleans Museum of Art North Carolina Museum of Art Georgia O’Keeffe Museum The Oriental Institute David Owsley Museum of Art Palm Springs Art Museum The Palmer Museum of Art The Parrish Art Museum Peabody Essex Museum The Pennsylvania Academy of the Fine Arts Perlman Teaching Museum, Carleton College Phoenix Art Museum Picker Art Gallery, Colgate University Pomona College Museum of Art Princeton University Art Museum San Antonio Museum of Art San Diego Museum of Art San Francisco Museum of Modern Art Santa Barbara Museum of Art Santa Monica Museum of Art

Scottsdale Museum of Contemporary Art Seattle Art Museum Sheldon Museum of Art Smart Museum of Art, The University of Chicago The Studio Museum in Harlem The Frances Young Tang Teaching Museum & Art Gallery Tarble Arts Center Toledo Museum of Art Tufts University Art Gallery UB Art Galleries UC Berkeley Art Museum & Pacific Film Archive University of Iowa Museum of Art The University Museum at Texas Southern University Virginia Museum of Contemporary Art Virginia Museum of Fine Arts Vizcaya Museum & Gardens Jane Voorhees Zimmerli Art Museum The Wadsworth Atheneum Museum of Art The Andy Warhol Museum Washington County Museum of Fine Arts Weatherspoon Art Museum, University of North Carolina at Greensboro Weisman Art Museum Wellin Museum of Art at Hamilton College Whitney Museum of American Art Wichita Art Museum Williams College Museum of Art Winterthur Museum, Garden & Library The Wolfsonian, Florida International University Worcester Art Museum Yale Center for British Art Yale University Art Gallery

romare Bearden

Romare Bearden, (American, 1911-1988), New Orleans, ca. 1965-70, Photo collage and watercolor on paper, 14 x 22 inches (image), 17 1/4 x 23 1/2 inches (sheet). ÂŠ 2016 courtesy, Gerald Peters Gallery.

Gerald Peters Gallery is very Pleased to suPPort the imPortant work of the aamC

24 e. 78th street, ny, ny 10075 | (212) 628-9760 | GPGallery.Com

NEW YORK

David Hockney 537 West 24th Street Through June 18

James Turrell Projections 1967 – 1968 32 East 57th Street & 534 West 25th Street Through June 18

Richard Tuttle

26 510 West 25th Street Through June 11

Fred Wilson Frieze New York, Booth C2 Randall’s Island Through May 8

CALIFORNIA

James Turrell Recent Work 229 Hamilton Avenue, Palo Alto Through July 30

teamLab Living Digital Space and Future Parks 300 El Camino Real, Menlo Park Through July 1

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CONFERENCE SPONSORS & SUPPORTERS Thank you to the following for their support & enthusiasm for the 2016 AAMC & AAMC Foundation Conference & Meeting.

LEAD CORPORATE & FOUNDATION SPONSORS

SUSAN VAUGHN FOUNDATION

THE WORTHAM FOUNDATION

SPONSORS

SUPPORTERS Asia Society Texas Center Aurora Picture Show Bayou Bend Collection & Gardens, MFAH Blaffer Art Museum

Contemporary Arts Museum Houston DiverseWorks Hiram Butler Gallery Inman Gallery The Menil Collection

The Menil House Museum of Fine Arts, Houston Project Row Houses Rice Gallery Rienzi, MFAH The University Museum at Texas Southern University

We are grateful to those listed here for their dedication and commitment to the 2016 AAMC & AAMC Foundation Annual Conference & Meeting. Hilton Als Eric Anyah Bill Arning Kathleen Bickford Berzock Nancy Blomberg Graham C. Boettcher Bridget Bray Bradley Brooks Melissa Buron Hiram Butler Hannah Byers Lori Cassady Christina Chang Joshua Cinelli Christa Clarke Margi Conrads Rachel Cook Deborah Cullen-Morales Dean Daderko Malcolm Daniel Kimberly Davenport Tacita Dean Ryan N. Dennis Xandra Eden Helen C. Evans Josh Fischer

Ford Foundation Kimberli Gant Christine Gervais Eureka Gilkey Jonathon Glus Hilliard Todd Goldfarb Alison de Lima Greene Jennifer Grosvenor Sarah D. Gutierrez Kerry Inman Kristen Jarvis Eileen Johnston Bonna Kol Marianne Lamonaca Anne Leonard Mary-Kay Lombino Rick Lowe Lucy Lydon Mary Magsamen C. Griffith Mann Deborah McNulty Christine Medina Jen Mergel Al Miner Patty Mooney Valerie Cassel Oliver

Nykia Omphroy Joshua Pazda Lisa Powell Amy Purvis E. Carmen Ramos Thomas Rhoads Nina del Rio Joanna Montoya Robotham Claudia Schmuckli Paul Silva Barbara Snyder Andrew Spindler-Roesle Sarah Stauder Staci Steinberger Tomoko Takahashi Bart Thurber Gary Tinterow Georgiana Uhlyarik Katherine Veneman Darren Walker Alvia J. Wardlaw Michael Wellen Michelle White Michelle Joan Wilkinson Christy Williams

We are grateful to our partner the Museum of Fine Arts, Houston, funded by a grant from the City of Houston through the Houston Arts Alliance. 23

SCHEDULE IN BRIEF 12:00 PM – 2:00 PM

SATURDAY, MAY 7 10:00 AM – 6:00 PM

TOUR OF CONTEMPORARY ARTS MUSEUM HOUSTON

TOUR OPTION 1

3:00 PM – 4:45 PM

Project Row Houses Rice University Art Gallery Blaffer Art Museum, University of Houston The University Museum at Texas Southern University DiverseWorks

TACITA DEAN’S EVENT FOR A STAGE AT AURORA PICTURE SHOW WITH THE ARTIST IN ATTENDANCE 3:00 PM – 5:00 PM

10:00 AM – 5:45 PM

TOUR OPTION 2 Project Row Houses The Menil House Bayou Bend Collection & Gardens, MFAH Rienzi, MFAH

SUNDAY, MAY 8 10:00 AM – 11:30 AM

MENTORSHIP PROGRAM ALUMNI RECEPTION HOSTED BY THE EMILY HALL TREMAINE FOUNDATION & INMAN GALLERY Closed event, by invitation only

BOARD OF TRUSTEES MEETING AT THE MENIL COLLECTION Closed event, by invitation only

6:00 PM – 8:00 PM

AWARDS FOR EXCELLENCE CELEBRATION AT THE MENIL COLLECTION All galleries are open until 7:00 PM, with the William Copley exhibition remaining open until 8:00 PM. The reception will begin outside under the eaves on the east side of the building (weather permitting), and will continue in the Menil foyer after 7:00 PM.

WELCOME THOMAS RHOADS, Interim Director, The Menil Collection, with Awards presentation by CAROLYN PUTNEY, Chief Curator, Curator of Asian Art (Retired, February 2015), Consulting Curator; Board of Trustees; Prize Committee Chair

MONDAY, MAY 9 MUSEUM OF FINE ARTS, HOUSTON The Museum’s collection galleries will be open to conference attendees through 5:00 PM in the Caroline Wiess Law Building and through 7:00 PM in the Audrey Jones Beck Building. Also on view will be the special exhibition Sculpted in Steel: Art Deco Automobiles and Motorcycles, 1929–1940. Sessions will be in the Brown Auditorium Theater, Cullinan Hall.

7:45 AM – 8:30 AM

WELCOME BREAKFAST RECEPTION 8:45 AM Introduction of GARY TINTEROW, Director, Museum of Fine Arts, Houston; Trustee Emeritus, Past President by HELEN C. EVANS, Mary & Michael Jaharis Curator of Byzantine Art, The Metropolitan Museum of Art; AAMC & AAMC Foundation President

9:00 AM

WELCOME ADDRESS GARY TINTEROW, Director, Museum of Fine Arts, Houston; Trustee Emeritus, Past President 9:30 AM Introduction of Keynote Presentation, in-conversation with DARREN WALKER, President, Ford Foundation, moderated by HILTON ALS, staff writer & theater critic for The New Yorker, by HELEN C. EVANS, Mary & Michael Jaharis Curator of Byzantine Art, The Metropolitan Museum of Art; AAMC & AAMC Foundation President 10:00 AM – 11:00 AM

KEYNOTE IN-CONVERSATION DARREN WALKER, President, Ford Foundation, in-conversation moderated by HILTON ALS, staff writer & theater critic, The New Yorker

SCHEDULE IN BRIEF (CONT’D)

11:15 AM – 12:45 PM

4:30 PM – 5:00 PM

PANEL: LIGHTS IN THE DARK: INNOVATIVE STRATEGIES FOR FILM AND VIDEO EXHIBITIONS

MEMBERS’ MEETING

12:45 PM – 2:45 PM

ROUNDTABLE DISCUSSIONS & LUNCH Roundtable Discussions (12:45 PM – 1:45 PM) Lunch (12:45 PM – 2:45 PM) 2:45 PM – 4:15 PM

WORKSHOP: IT’S COMPLICATED: THE CURATOR-PATRON RELATIONSHIP 4:15 PM – 4:30 PM

5:15 PM – 7:15 PM

SOTHEBY’S SPONSORED MEMBERS’ RECEPTION IN THE SARAH CAMPBELL BLAFFER FOUNDATION GALLERY – 214 , MFAH 6:30 PM

CIRCLE DONOR DINNER HOSTED BY HIRAM BUTLER & ANDREW SPINDLER-ROESLE Closed event, by invitation only. For more information on becoming a Circle Donor, please contact AAMC.

MENTORSHIP PROGRAM ANNOUNCEMENT MARY-KAY LOMBINO, The Emily Hargroves Fisher ‘57 & Richard B. Fisher Curator & Assistant Director, The Frances Lehman Loeb Art Center, Vassar College; Career Support Committee Co-Chair and discussion on the Value of Being a Mentor with MITCHELL MERLING, Paul Mellon Curator & Head of the Department of European Art, Virginia Museum of Fine Arts; 2015 – 2016 Mentorship Program Mentor 26

TUESDAY, MAY 10 ASIA SOCIETY TEXAS CENTER Galleries will be open during our Conference.

7:30 AM – 8:15 AM

BREAKFAST RECEPTION

8:20 AM Introduction of BONNA KOL, Executive Director, Asia Society Texas Center by HELEN C. EVANS, Mary & Michael Jaharis Curator of Byzantine Art, The Metropolitan Museum of Art; AAMC & AAMC Foundation President 8:30 AM

WELCOME ADDRESS BONNA KOL, Executive Director, Asia Society Texas Center 8:45 AM – 10:15 AM

DIVERSITY TASK FORCE SESSION: DIVERSIFYING THE CURATORIAL PROFESSION: HOW THE INTERNSHIP/FELLOWSHIP TRACK CAN BE OUR ESSENTIAL PATH TOWARD CHANGE 10:15 AM – 10:45 AM

CURATORIAL SLAM PRESENTATIONS A New Frontier for Art of the American West at the Utah Museum of Fine Arts, LESLIE ANDERSON-PERKINS, Curator of European, American, & Regional Art, Utah Museum of Fine Arts Curating Kartz Ucci – Recreating Digital Work for a Retrospective, BLAKE SHELL, The Robert & Mercedes Eichholz Director & Curator, The Art Gym, Marylhurst University Integrating Your Community in the Curatorial Process: Transformations Exhibition, CARLOS ORTEGA, Curator of Collections, Museum of Latin American Art 11:00 AM – 12:30 PM

PANEL: EXHIBITING CONTROVERSY: PROMOTING DEBATE

12:30 PM – 2:00 PM

BONHAMS SPONSORED LUNCH RECEPTION AND AAMC & AAMC FOUNDATION COMMITTEE MEETINGS Committee Meetings (12:30 PM – 1:15 PM) Lunch (12:30 PM – 2:00 PM) 2:00 PM – 2:30 PM

CURATORIAL SLAM PRESENTATIONS Beyond Suitcase City, or How I Found My Social Practice as a Curator, MEGAN VOELLER, Associate Curator, University of South Florida Contemporary Art Museum Curating Connections: Showcasing Relationships of Creative Exchange Through Aesthetic Affinities, KELLEY TIALIOU, Charles H. Sawyer Curatorial Assistant, Librarian, Archivist, Addison Gallery of American Art Creating a Space for the Dancer’s Interpretation in the Exhibition: The Art of American Dance, JANE ANN DINI, Associate Curator of Paintings & Sculpture, The American Wing, The Metropolitan Museum of Art SFMOMA on the Go: Collection-Based Exhibitions with Community Partners, CAITLIN HASKELL, Assistant Curator of Painting & Sculpture, San Francisco Museum of Modern Art 2:45 PM – 4:15 PM

PANEL: WHEN ALL ART IS CONTEMPORARY: THE INSTITUTIONAL PUSH FOR RELEVANCE 4:30 PM

CLOSING REMARKS JUDITH PINEIRO, Executive Director, AAMC & AAMC Foundation 27

KEYNOTE IN-CONVERSATION DARREN WALKER, PRESIDENT, FORD FOUNDATION, IN-CONVERSATION MODERATED BY HILTON ALS, STAFF WRITER & THEATER CRITIC, THE NEW YORKER

DARREN WALKER

photo credit: Brigitte Lacombe

President, Ford Foundation

Darren Walker is President of the Ford Foundation, the nation’s second largest philanthropy. For two decades he has been a leader in the nonprofit and philanthropic sectors, working on an array of social justice issues, including education, human rights, urban development, and free expression. Prior to joining Ford, he was Vice President at the Rockefeller Foundation. He had a decade-long career in international law and finance at Cleary Gottlieb Steen & Hamilton and UBS. As COO of Harlem’s leading community development organization, the Abyssinian Development Corporation, Darren oversaw development of over 1,000 new units of low-income housing and Harlem’s first commercial development in twenty years, among other achievements. He is a member of the boards of Carnegie Hall, New York City Ballet, the High Line, and the Arcus Foundation. Darren received the “Distinguished Alumnus Award,” the highest honor given by his alma mater, the University of Texas at Austin. He is a member of the Council on Foreign Relations, the American Academy of Arts and Sciences and the recipient of several honorary degrees.

Hilton Als became a staff writer at The New Yorker in 1994 and a theatre critic in 2002. He began contributing to the magazine in 1989, writing pieces for The Talk of the Town. Before coming to The New Yorker, Als was a staff writer for the Village Voice and an editor-at-large at Vibe. Als edited the catalogue for the 1994-95 Whitney Museum of American Art exhibition Black Male: Representations of Masculinity in Contemporary American Art. His first book, The Women, was published in 1996. His most recent book, White Girls, a finalist for the National Book Critics Circle Award in 2014, discusses various narratives of race and gender.

HILTON ALS

staff writer & theater critic, The New Yorker

In 1997, the New York Association of Black Journalists awarded Als first prize in both Magazine Critique/Review and Magazine Arts and Entertainment. He was awarded a Guggenheim for creative writing in 2000 and the George Jean Nathan Award for Dramatic Criticism for 2002-03. In 2009, Als worked with the performer Justin Bond on Cold Water, an exhibition of paintings, drawings, and videos by performers, at La MaMa Gallery. In 2010, he co-curated Self-Consciousness, at the VeneKlasen/Werner gallery, in Berlin, and published Justin Bond/ Jackie Curtis. In 2015, he collaborated with the artist Celia Paul to create Desdemona for Celia by Hilton, an exhibition for the Metropolitan Opera’s Gallery Met. Als is an associate professor of writing at Columbia University’s School of the Arts and has taught at Yale University, Wesleyan, and Smith College. He lives in New York City.

THE ART OF CHANGE

“

The arts and culture create economies of empathy… we have seen them play an integral part in building a wide range of social movements, from the civil rights movement to the Arab Spring. Artists challenge the status quo and give voice to those left out and left behind. Artists imagine a better world and inspire others to join in building it. They move us to hope, joy, compassion, resolve and, ultimately, action

- DARREN WALKER, PRESIDENT OF THE FORD FOUNDATION

MEET THE ART OF CHANGE VISITING FELLOWS (2015-2016) Robert Battle Artistic director, Alvin Ailey American Dance Theater Amitav Ghosh Novelist and essayist Thelma Golden Director and chief curator, Studio Museum in Harlem David Henry Hwang Playwright, librettist, and screenwriter Deeyah Khan Filmmaker, music producer, and CEO of Fuuse Arnold L. Lehman Senior Advisor, Phillips; and Director Emeritus, Brooklyn Museum Joy Mboya Executive director, GoDown Arts Centre Laura Poitras Filmmaker Bill Rauch Artistic director, Oregon Shakespeare Festival Toshi Reagon Singer, composer, musician, and producer Pedro Reyes Artist and activist Albie Sachs Former judge on the Constitutional Court of South Africa

ince its inception, the Ford Foundation has helped mobilize movements for social justice by supporting ideas and the institutions and individuals who conceive and propel them. Nowhere is this legacy clearer—or richer—than in the arts, where the Foundation has stood behind creative visionaries for generations. The belief that the arts and creative expression are essential to justice is deeply embedded in the Ford Foundation’s strategy to advance social change. In February 2015, the Ford Foundation launched Art of Change, a yearlong initiative exploring the interplay of art and social justice in the world today. Over the course of the year, 13 Art of Change Visiting Fellows pursued a self-directed project exploring issues at the heart of art, creativity, equity, and justice. Their projects ranged from exploring the role of art in challenging extremism, to literature’s capacity to help move hearts and minds on issues related to climate change, to making the nonprofit arts system in the U.S. more reflective of our increasingly diverse population. Together, their work was instrumental in contributing to the Ford Foundation’s understanding of how expression and creativity can shape a more just and equitable future for all.

Carrie Mae Weems Visual artist

WEEKEND ACTIVITY DETAILS SATURDAY, MAY 7 10:00 AM – 6:00 PM Tour Option 1 Project Row Houses Tour of Project Row Houses with introduction by RICK LOWE, Founding Director, and EUREKA GILKEY, Executive Director, and grounds tour with RYAN N. DENNIS, Public Art Director. Visitors will have the opportunity to learn about the many aspects of this community-based arts organization that has shaped our understanding of what art can do. Rice Gallery An introduction to the gallery, and tour of installation with CHRISTINE MEDINA, Manager, and self guided visit of public art on campus. The only university art museum in the nation dedicated to site-specific installation art, Rice Gallery presents temporary, large-scale environments that visitors can enter and explore. Artists typically use inexpensive materials to create stunning works of art. Currently on view will be The Great Cape Rinderhorn by German artist Thorsten Brinkmann. He describes his installation as a “decaying palace.” Overwhelming at first glance, this “palace” is full of idiosyncratic and eccentric opulence. The walls are painted in angled swatches of pea green, teal, brown, and deep purple interrupting densely patterned pink wallpaper. Lining these walls are portraits of figures in the kind of regal poses traditionally reserved for richly attired knights and monarchs. Here, however, their bodies and faces are adorned and disguised by common objects (trashcans, lampshades, tattered blankets, and ski gloves) and not the precious materials that normally signify royalty. At the center of the gallery sits a plywood crate with a huge animal horn inexplicably perched atop it. A small opening in the side of the crate allows visitors entry to a hidden “cinema,” where a video shows a hapless king struggling to find the right pose, and a tunnel leads to the palace inhabitant’s secret room. Blaffer Art Museum A brief tour and introduction by KATHERINE VENEMAN, Curator of Education, Blaffer Art Museum, University of Houston, of the Museum and the UH Public Art Collection. Blaffer Art Museum is a non-collecting contemporary art museum established in 1973. The museum showcases work across all media by international artists, with an emphasis on emerging and mid-career artists. On view will be the Annual School of Art Student Exhibition with art from the School of Art first and second year graduate students and undergraduate seniors. The University of Houston Public Art Collection was established in 1969 and includes over 500 artworks across the UH System by such artists as Frank Stella, Mary Miss, Carlos Cruz-Diez, The Art Guys, Kendall Buster, and Jacob Hashimoto. The University Museum at Texas Southern University ALVIA J. WARDLAW, Director and Curator, will lead a tour of The University Museum at Texas Southern University. For over a decade, the museum has presented art from African and African American artists through its permanent collection and special exhibitions.

DiverseWorks Join XANDRA EDEN, Executive Director & Chief Curator, RACHEL COOK, Associate Curator, and other staff for an introduction to DiverseWorks, with light refreshments and a tour of current exhibition and performance facilities. One of Houston’s most innovative arts organizations, DiverseWorks has been commissioning and presenting experimental and multidisciplinary art for over 33 years. Their new location at the MATCH (Midtown Arts and Theater Center Houston) provides unique opportunities for artists to create work and experiment with new art forms in multiple gallery and theater spaces. School for the Movement of the Technicolor People is a large-scale installation and performance platform by Los Angelesbased artist taisha paggett. Developed in collaboration with artists Ashley Hunt and Kim Zumpfe, the project serves as an exhibition, temporary dance school, and performance space for dance company WXPT (We are the Paper, We are the Trees) and its extended community of participants. 10:00 AM – 5:45 PM Tour Option 2 Project Row Houses Tour of Project Row Houses with introduction by RICK LOWE, Founding Director, and EUREKA GILKEY, Executive Director, and grounds tour with RYAN N. DENNIS, Public Art Director. Visitors will have the opportunity to learn about the many aspects of this community-based arts organization that has shaped our understanding of what art can do. The Menil House Join MICHELLE WHITE, Curator at The Menil Collection, for a tour of the Philip Johnson-designed residence of John and Dominique de Menil. It is the first International Style domestic building in the southwestern United States, built in 1949. The interiors are by American couturier Charles James, and the house holds a selection of work from the Museum’s collection. Bayou Bend Collection & Gardens, MFAH Bayou Bend is the MFAH house museum for American decorative arts and paintings. Displayed in the former home of Houston civic leader and philanthropist Ima Hogg (1882–1975), the collection is one of the finest showcases of American furnishings, silver, ceramics, and paintings in the world. The house is situated on 14 acres of organically maintained gardens in Houston’s historic River Oaks neighborhood. BRADLEY BROOKS, Curator, Bayou Bend Collections & Gardens, will introduce the group before breaking out into docentled tours. Rienzi, MFAH Join CHRISTINE GERVAIS, Associate Curator, Decorative Arts, and Rienzi for an introduction to space and guided visit of Rienzi, which is the MFAH house museum for European decorative arts. Originally the home of arts patrons Carroll Sterling Masterson and Harris Masterson III, Rienzi comprises a remarkable art collection, house, and gardens. For more than 40 years, the Mastersons collected European decorative arts, paintings, furnishings, and porcelain made from the 17th to mid-19th centuries.

SUNDAY, MAY 8 10:00 AM – 11:30 AM Mentorship Program Alumni Reception hosted by The Emily Hall Tremaine Foundation & Inman Gallery Closed event, by invitation only

A celebration of the Mentorship Program, bringing together program alumni and AAMC & AAMC Foundation Board members, hosted by The Emily Hall Tremaine Foundation & Inman Gallery. On view at the Inman Gallery will be Haavard Homstvedt’s A glove in a dusty dream and Katrina Moorhead’s The Stars and Us. KERRY INMAN, Owner and Director, will welcome the group, along with special guests from the gallery. AAMC’s Mentorship Program reinforces our mission to foster the professional development of curators at all levels, and furthers our new strategic plan to aid and promote the curatorial profession by providing the tools for our members to grow in their career and field. Each year, 5 sets of established, senior curators (mentors) and emerging to mid-career curators (mentees) are paired and embark on the yearlong program. 12:00 PM – 2:00 PM Contemporary Arts Museum Houston Join BILL ARNING, Director, and DEAN DADERKO, Curator, for a tour of the Contemporary Arts Museum Houston (CAHM). Founded in 1948, CAMH is the oldest non-collecting contemporary arts space in the United States. CAMH presents dynamic exhibitions by innovative and exciting international, national, and regional artists in its Brown Foundation and Zilkha Galleries. Located in the heart of Houston’s Museum District in an iconic parallelogram-shaped, steel-clad building designed by Gunnar Birkerts and inaugurated in 1972, CAMH’s exhibitions are always free and open to the public, and are complemented by a full calendar of engaging programs for visitors of all ages. Each exhibition is accompanied by a full-color catalogue that serves to extend the exhibition’s reach and contribute to scholarship. On view are Mark Flood: Gratest Hits, the first survey of Mark Flood’s work dating from the 1980s to 2015; and THE INTERVIEW: Red, Red Future, a solo exhibition by the artist MPA featuring an entirely new body of work commissioned by CAMH, including a dynamic installation that combines sculpture, light, and photography.

3:00 PM – 4:45 PM Tacita Dean’s Event for a Stage at Aurora Picture Show with the artist in attendance Commissioned for the 19th Biennale of Sydney, British artist TACITA DEAN’s latest film Event for a Stage explores processes of stage acting, filmmaking, and portraiture. First performed live in collaboration with actor Stephen Dillane with two 16mm cameras recording, Dean re-edited the films into a new film performance, for which this is the Houston debut. The program includes a welcome to the Aurora Picture Show—a non-profit media arts center that presents artist-made, non-commercial film and video, dedicated to expanding the cinematic experience and promoting the understanding and appreciation of moving image art—with SARAH STAUDER, Executive Director, and MARY MAGSAMEN, Curator, followed by a brief introduction to the film by MICHAEL WELLEN, Assistant Curator of Latin American & Latino Art, Museum of Fine Arts, Houston and guest curator of the screening. The film viewing (approx. 50 minutes) will be followed by a small reception. Event for a Stage was originally commissioned as a live performance over four consecutive nights at Carriageworks as part of the 2014 Sydney Biennale. It became Dean’s first foray into theatre and her first experience working with an actor. What resulted was a fierce interplay between the artist and the actor Stephen Dillane, as they struggled to understand and accommodate each other’s disciplines. Dean filmed each of the four nights as part of the performance with the intention of making the film, which had its world premiere at Theatertreffen, Berlin, in 2015. It was also presented that year at Tate Modern and the 59th BFI London Film Festival; LACMA (Los Angeles County Museum of Art); and at Marian Goodman Gallery, New York, in 2016. 3:00 PM – 5:00 PM Board of Trustees Meeting at The Menil Collection Closed event, by invitation only

6:00 PM – 8:00 PM Awards for Excellence Celebration at The Menil Collection Join us for our first Awards for Excellence Celebration, where we will toast this year’s Award recipients. THOMAS RHOADS, Interim Director of The Menil Collection, will welcome the group. The AAMC Foundation has honored more than 100 curators for their outstanding work in catalogues, essays, articles, and exhibitions through our Awards for Excellence. The Prizes, as they are more informally known, are the only awards of their kind by which curators directly acknowledge the work of their colleagues. The Awards are highly valued and esteemed by our members, and we are proud to be formally honoring them with an individual reception.

CONFERENCE SESSION DETAILS

Sessions are listed in order of their presentation at the Conference.

LIGHTS IN THE DARK: INNOVATIVE STRATEGIES FOR FILM AND VIDEO EXHIBITIONS “Culturally and socially, we are moving too fast and losing too much in our haste…. Analogue, the word, means equivalent. Digital is not the analogue of analogue. At the moment we have both, so why deplete our world of this choice?” –Tacita Dean Digital resources increasingly enable curators to incorporate film, video, and new media installations into their exhibitions. However, the opportunity also brings a unique set of spatial and technical challenges. As new technologies and computer advancements offer more cost-effective methods for showing certain time-based media and content, these same technologies have pushed earlier media—particularly film—into near extinction, making it more difficult to locate the materials and expertise necessary to display a wide range of works. How best to navigate through these challenges? How might working with time-based media revolutionize our methods of art historical investigation and exhibition display? This panel brings artist Tacita Dean together with several curators adventurously engaging and integrating new and historical film and video into different exhibition settings (including, but not limited to, museum galleries, biennials, site-specific installations). Jointly, the panel makes a case for how exhibitions can become best positioned for innovating new technologies and for appreciating and preserving the old.

MODERATOR/ORGANIZER

MICHAEL WELLEN, Assistant Curator of Latin American & Latino Art, Museum of Fine Arts, Houston

PANELISTS

DEAN DADERKO, Curator, Contemporary Arts Museum Houston TACITA DEAN, Artist & Founder, savefilm.org MICHAEL MANSFIELD, Curator, Film & Media Art, American Art Museum, Smithsonian Institution ALMA RUIZ, Senior Fellow in the Center for Management in the Creative Industries, Latin American Specialist, Sotheby’s Institute of Art & Claremont Graduate University

IT’S COMPLICATED: THE CURATOR-PATRON RELATIONSHIP This workshop is aimed at helping curators prepare for, initiate, and maintain vital connections with individual museum donors while also dealing with the ethical and practical concerns they may encounter. There are many questions that arise when considering the delicate dance of patron and curator. For instance: How should your relationship evolve as the patron’s or the museum’s needs change? How can you best communicate that an offered donation is not wanted by the museum? Panelists will offer − through information exchange and an extensive question and answer period − wisdom, etiquette suggestions, and guidelines for effective interactions that will both strengthen your personal relationship with key supporters and the relationship between them and your institution.

MODERATOR/ORGANIZER

AL MINER, Assistant Curator of Contemporary Art, Museum of Fine Arts, Boston

PANELISTS

RENÉ PAUL BARILLEAUX, Chief Curator/Curator of Contemporary Art, McNay Art Museum; Finance & Audit Committee & Fundraising Initiatives Member MARIA ROBINSON GLOVER, Associate Director of Development, Office of Strategic Advancement, the Southern California Institute of Architecture (SCI-Arc) PAUL C. HA, Director, MIT List Visual Arts Center CODY HARTLEY, Director of Curatorial Affairs, Georgia O’Keeffe Museum

DIVERSIFYING THE CURATORIAL PROFESSION: HOW THE INTERNSHIP/ FELLOWSHIP TRACK CAN BE OUR ESSENTIAL PATH TOWARD CHANGE Organized by AAMC’s & AAMC Foundation’s Executive Director and Diversity Task Force, this panel has three goals: 1) cite analysis on diversity gaps caused by barriers to entry in the curatorial field; 2) present experts on successful internship and fellowship opportunities currently available to historically underrepresented minorities; and 3) propose key points on why and how to develop one at your own institution. Panelists will speak from experience on both sides of these internship/fellowship opportunities, as both mentors and mentees, program developers and participants. Their presentations will address consequences of lack of diversity, and highlight resources to research toward making change. This panel makes the case that while targeted internships and fellowships are but one step among many to address hiring disparities, they can be a productive, and essential, first step to diversify the field.

MODERATOR/ORGANIZER

JEN MERGEL, Robert L. Beal, Enid L. Beal, and Bruce A. Beal Senior Curator of Contemporary Art, Museum of Fine Arts, Boston; Professional Development Committee Co-Chair; Diversity Task Force Co-Leader

PANELISTS

RENÉE FRANKLIN, Director of Audience Development, Saint Louis Art Museum CHON A. NORIEGA, Professor, University of California, Los Angeles ANNE COLLINS SMITH, Curator of Collections, Spelman College Museum of Fine Art AUNTANESHIA STAVELOZ, Supervisory Program Manager, Office of Community & Constituent Services, Smithsonian Institution, National Museum of African American History & Culture; Vice President, Association of African American Museums

EXHIBITING CONTROVERSY, PROMOTING DEBATE The visual arts are particularly effective for thinking about, shaping, and sharing perspectives on the pressing issues of our day. This panel invites artists and curators who have intentionally organized exhibitions on subjects that take on the big questions and issues of today to present on their experiences and strategies, from exhibition concept and design to public engagement, to the expected and unexpected responses of peers, stakeholders, and the wider public. When handled adeptly, exhibitions can create avenues for exploring socially relevant and even “hotbutton” topics − whether they are divisive, emotionally charged, socially taboo, or merely uncomfortable − in ways that break through the circularity of entrenched

opinions and make space for reflection, empathy, and critical inquiry.

MODERATOR/ORGANIZER

KATHLEEN BICKFORD BERZOCK, Associate Director of Curatorial Affairs, Mary & Leigh Block Museum of Art, Northwestern University

PANELISTS

GRAHAM C. BOETTCHER, Deputy Director & The William Cary Hulsey Curator of American Art, Birmingham Museum of Art; Vice President, Finance, Board of Trustees SILVIA FORNI, Curator of Anthropology, Royal Ontario Museum ROCK HUSHKA, Chief Curator & Curator of Contemporary & Northwest Art, Tacoma Art Museum HEATHER IGLOLIORTE, Assistant Professor, Department of Art History, Concordia University KELLI MORGAN, Doctoral Candidate, W.E.B. Du Bois Department of Afro-American Studies, University of Massachusetts Amherst

WHEN ALL ART IS CONTEMPORARY: THE INSTITUTIONAL PUSH FOR RELEVANCE Given museums’ increasing focus on “what’s now,” how can curators best respond? Should we view as inevitable the institutional directives to show more contemporary art, or to emphasize the relevance of historical works to the present? This panel will invite curators working at a range of museums to tackle these questions both philosophically and practically. Panelists may share case studies of how they’ve displayed, interpreted, or recontextualized earlier art from their museum’s permanent collection. They may offer perspectives on the institutional forces that guide decision-making about the collections and exhibitions “menu,” and how curators can ensure that they continue to play a decisive role in those strategic discussions. Key takeaways will be how contemporary and noncontemporary curators alike can think more creatively to avoid blunt characterizations of periodization and to preserve the dynamic and essential historicity of objects.

MODERATOR/ORGANIZER

ANNE LEONARD, Curator & Associate Director of Academic Initiatives, Smart Museum of Art, University of Chicago; Governance & Nominating Committee Member

PANELISTS

PAUL R. DAVIS, Curator of Collections, The Menil Collection TULIZA FLEMING, Curator & Art Historian, Smithsonian National Museum of African American History & Culture OLIVER TOSTMANN, Susan Morse Hilles Curator of European Art, Wadsworth Atheneum

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ROUNDTABLE TOPICS & LEADERS

Our Roundtable discussions are intended to generate conversation among members by dedicating several tables to assigned topics. We hope that these discussions will open up dialogues between curators at all stages of their careers. Tables are filled on a first-come basis.

CONDUCTING & GIVING INTERVIEWS CINDI STRAUSS, Assistant Director, Programming, and Curator, Modern & Contemporary Decorative Arts & Design, Museum of Fine Arts, Houston JOANNA MONTOYA ROBOTHAM, Curator of Modern & Contemporary Art, Tampa Museum of Art; Conference Committee Member

CROWDSOURCING EXHIBITIONS: PROS AND CONS MARINA PACINI, Chief Curator & Curator of American, Modern & Contemporary Art, Memphis Brooks Museum of Art; Board of Trustees; Professional Development Committee Member SHARON MATT ATKINS, Vice Director, Exhibitions & Collections Management, Brooklyn Museum; Marketing & Communications Committee Member

CULTURAL DIVERSITY WITHIN THE ACADEMIC ART MUSEUM MARY-KAY LOMBINO, The Emily Hargroves Fisher â&#x20AC;&#x2DC;57 & Richard B. Fisher Curator & Assistant Director, The Frances Lehman Loeb Art Center, Vassar College; Career Support Committee Co-Chair ELIZABETH A. WILLIAMS, David & Peggy Rockefeller Curator of Decorative Arts & Design, Museum of Art, Rhode Island School of Design; Career Support Committee Member

MANAGING & MENTORING CATHERINE L. FUTTER, Director, Curatorial Affairs, The Nelson-Atkins Museum of Art; Board of Trustees; Career Support Committee Member JENNIFER SCANLAN, Exhibitions & Curatorial Director, Oklahoma Contemporary; Professional Development Committee Co-Chair MICHELLE JOAN WILKINSON, Museum Curator, Smithsonian National Museum of African American History & Culture; Diversity Task Force Member; Membership Committee Member

MUSEUM RESPONSES TO CONFLICT ZONES AIMﾃ右 FROOM, Curator, Art of the Islamic Worlds, Museum of Fine Arts, Houston PETER J. SCHERTZ, Jack & Mary Ann Frable Curator of Ancient Art, Virginia Museum of Fine Arts; Finance & Audit Committee & Fundraising Initiatives Member

NAVIGATING GIFTS OF ART: THE ENJOYMENT AND FRUSTRATION MARISA J. PASCUCCI, Curator of Collections, Boca Raton Museum of Art; Professional Development Committee Member HILLIARD TODD GOLDFARB, Senior Curator, Collections, Curator of Old Masters, The Montreal Museum of Fine Arts; Conference Committee Member

POSITIVE SELF PROMOTION JULIE N. PIEROTTI, Curator, Dixon Gallery & Gardens MELISSA BURON, Associate Curator of European Art, Fine Arts Museums of San Francisco; Conference Committee Member

SMALL BUDGETS: LEAN IS GOOD VALERIE CASSEL OLIVER, Senior Curator, Contemporary Arts Museum, Houston; Conference Committee Member XANDRA EDEN, Executive Director & Chief Curator, DiverseWorks; Conference Committee Member

SPECIAL EXHIBITIONS JERRY N. SMITH, Hazel & William Hough Chief Curator, Museum of Fine Arts, St. Petersburg, Florida; Career Support Committee Member PAULA BRADSTREET RICHTER, Curator for Exhibition & Research, Peabody Essex Museum; Career Support Committee Member

WORKING WITH NEW LEADERSHIP MICHELLE JACQUES, Chief Curator, Art Gallery of Greater Victoria; Career Support Committee Member CHRISTINA NIELSEN, William & Lia Poorvu Curator of the Collection, Isabella Stewart Gardner Museum; Career Support Committee Member

AWARDS FOR EXCELLENCE

AAMC & AAMC Foundation are honored to present the first Awards for Excellence Celebration, where we will present this yearâ&#x20AC;&#x2122;s recipients. Through our Awards, we have honored nearly 120 curators for their outstanding work in catalogues, essays, articles, and exhibitions. The Prizes, as they are more informally known, are the only of their kind by which curators directly honor the work of their colleagues. The Awards are highly valued and esteemed by our members, and we are delighted to be formally celebrating the achievements of the Awardees with an evening reception. AAMC is proud to be unveiling this new Conference feature, during our time in Houston, and thanks The Menil Collection for hosting the event. The first awards were presented in 2004, and in 2014, in an effort to acknowledge the excellent work at organizations of various sizes, the Board of Trustees of the AAMC & AAMC Foundation determined that basing the Awards on operating budget size would offer greater diversity and more accurately reflect the breadth and the depth of the membership. This year, AAMC received nearly 90 nominations, from there, 15 curators were selected to receive Awards. We applaud all our jurors and committee members for their time and thoughtful review of the nominations. A special thank you to our Prize Committee Chair, Carolyn Putney, Chief Curator, Curator of Asian Art (Retired, February 2015), Consulting Curator, Toledo Museum of Art. 44

2015 AWARD FOR EXCELLENCE RECIPIENTS CATALOG OR PUBLICATION INSTITUTION WITH AN OPERATING BUDGET UP TO $4 MILLION First Place Award SARAH MONTROSS, formerly Andrew W. Mellon Post-doctoral Curatorial Fellow, Bowdoin College Museum of Art; currently Associate Curator, deCordova Sculpture Park & Museum for Past Futures: Science Fiction, Space Travel, and Postwar Art of the Americas from the Bowdoin College Museum of Art INSTITUTION WITH AN OPERATING BUDGET BETWEEN $4 MILLION AND $20 MILLION Co-First Place Award CHRISTA CLARKE, Senior Curator, Arts of Global Africa, Newark Museum for African Art in the Barnes Foundation: The Triumph of L’Art nègre and the Harlem Renaissance from The Barnes Foundation Co-First Place Award MARIANNA SHREVE SIMPSON, Independent Curator for Princeton’s Great Persian Book of Kings: The Peck Shahnama from the Princeton University Art Museum INSTITUTION WITH AN OPERATING BUDGET OVER $20 MILLION First Place Award STEPHANIE BARRON, Senior Curator and Head of Modern Art, Los Angeles County Museum of Art SABINE ECKMANN, William T. Kemper Director and Chief Curator, Mildred Lane Kemper Art Museum Both for New Objectivity: Modern German Art in the Weimar Republic: 1919-1933 from the Los Angeles County Museum of Art Honorable Mention EMILY BRAUN, Guest Curator, Solomon R. Guggenheim Museum & Distinguished Professor, Hunter College & the Graduate Center, CUNY for Alberto Burri: The Trauma of Painting from the Solomon R. Guggenheim Museum

ARTICLE OR ESSAY First Place Award ALEXANDRA SCHWARTZ, Curator of Contemporary Art, Montclair Art Museum for Chaotic Input: Art in the United States, 1989-2001

EXHIBITION OR INSTALLATION INSTITUTION WITH AN OPERATING BUDGET UP TO $4 MILLION First Place Award VALÉRIE ROUSSEAU, Curator, Self-Taught Art & Art Brut, American Folk Art Museum for When the Curtain Never Comes Down at the American Folk Art Museum INSTITUTION WITH AN OPERATING BUDGET BETWEEN $4 MILLION AND $20 MILLION First Place Award JENS HOFFMANN, Deputy Director, Exhibitions & Public Programs, The Jewish Museum SUSAN TUMARKIN GOODMAN, Senior Curator Emerita, The Jewish Museum Both for The Power of Pictures: Early Soviet Photography, Early Soviet Film at The Jewish Museum Honorable Mention MARK SCALA, Chief Curator, Frist Center for the Visual Arts for Phantom Bodies: The Human Aura in Art at the Frist Center for the Visual Arts INSTITUTION WITH AN OPERATING BUDGET OVER $20 MILLION First Place Award PETER JOHN BROWNLEE, Curator, Terra Foundation for American Art VALÉRIA PICCOLI, Chief Curator, Pinacoteca do Estado de São Paulo, Brazil GEORGIANA UHLYARIK, Associate Curator, Art Gallery of Ontario All for Picturing the Americas: Landscape Painting from Tierra del Fuego to the Arctic at Art Gallery of Ontario Honorable Mention AUSTEN BARRON BAILLY, The George Putnam Curator of American Art, Peabody Essex Museum, and Lead Curator for American Epics: Thomas Hart Benton and Hollywood, organized by the Peabody Essex Museum in collaboration with The Nelson-Atkins Museum of Art and the Amon Carter Museum of American Art

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MENTORSHIP PROGRAM

The AAMC Foundation Mentorship Program reinforces our mission to foster the professional development of curators at all levels. A competitive process, each year AAMC and the Career Support Committee work diligently to select the Program participants. Serving as a Mentor is a prestigious opportunity, and we are honored to have awarded Mentor roles to experienced, revered members of our community. Mentors receive a stipend for their participation, as well as travel funding. Our experience has been that the Mentors find the Program to be extremely fulfilling and rewarding. Each Mentee and Mentor is provided a travel stipend to further the experience of the Program. The funding can be used to observe each other at a host institution and/or attend an art fair, conference, exhibition, installation, and/or AAMC Conference. During the 12-month Program, an additional outlet for support is provided in a Career Support Committee liaison, singularly dedicated to a pairing. In addition, each May during the Annual Conference, an Alumni Reception is held allowing for networking across Program years and celebrating the incoming and outgoing classes. Another aspect of the Program is tailored webinars for Mentees and Mentors, enhancing the value of the experience further. Once recorded, these webinars are archived on artcurators.org and are available to all members. The Program is a rewarding experience for all those involved. Applications for the 2016 â&#x20AC;&#x201C; 2017 Mentorship Program will open in late 2016. ARCHIVED MENTORSHIP PROGRAM WEBINARS listed by recording date

How to Mentor Those You Manage, February 2016 Development 101, February 2016 Successful Mentorship Year: For Mentees, September 2015 Successful Mentorship Year: For Mentors, August 2015 Curatorial Ethics, March 2015 Planning Your Career, December 2014 Maximizing Your Leadership, November 2014 How to be a Mentor, September 2014 CV and Interview Skills, August 2014 Strategic Planning, February 2014 51

MENTORSHIP PROGRAM (CONT’D)

We are honored to list our Mentee and Mentor alumni, along with the incoming class of Awardees. Each class is listed alphabetically by Mentor.

2014 – 2015 CLASS JUDITH BRODIE, Curator of Modern Prints & Drawings, National Gallery of Art; Mentor NANCY BURNS, Assistant Curator of Prints, Drawings, & Photographs, Worcester Art Museum; Mentee CAROL ELIEL, Curator of Modern Art, Los Angeles County Museum of Art; Career Support Committee Liaison STEPHEN HARRISON, Curator of Decorative Art & Design, The Cleveland Museum of Art; Mentor ELIZABETH SIEGEL, Associate Curator of Photography, Art Institute of Chicago; Mentee CATHERINE L. FUTTER, Director of Curatorial Affairs, The Nelson-Atkins Museum of Art; Career Support Committee Liaison JUDY MANN, Curator, European Art to 1800, Saint Louis Art Museum; Mentor TANYA PAUL, Isabel & Alfred Bader Curator of European Art, Milwaukee Art Museum; Mentee ANDREA BAYER, Jayne Wrightsman Curator, Department of European Paintings, The Metropolitan Museum of Art; Career Support Committee Liaison ELIZABETH SMITH, Executive Director, Helen Frankenthaler Foundation; Mentor LIA ZAALOFF, Independent Curator (accepted as Curator, Bronx Museum of the Arts); Mentee BROOKE DAVIS ANDERSON, Executive Director, Prospect New Orleans; Career Support Committee Liaison CINDI STRAUSS, Assistant Director, Programming, and Curator, Modern & Contemporary Decorative Arts & Design, Museum of Fine Arts, Houston; Mentor BRIAN SHOLIS, Associate Curator of Photography, Cincinnati Art Museum; Mentee JERRY SMITH, Hazel and William Hough Chief Curator, Museum of Fine Arts, St. Petersburg, Florida; Career Support Committee Liaison

2015 – 2016 CLASS

2016 – 2017 CLASS

SUSAN EARLE, Curator of European & American Art, Spencer Museum of Art, The University of Kansas; Mentor EMILIA LAYDEN, Associate Curator, Haggerty Museum of Art, Marquette University; Mentee MARY-KAY LOMBINO, Curator of Contemporary Art & Photography, Frances Lehman Loeb Art Center, Vassar College; Career Support Committee Liaison

RENÉ PAUL BARILLEAUX, Chief Curator/Curator of Contemporary Art, McNay Art Museum; Mentor ELYSE A. GONZALES, Assistant Director/Curator of Exhibitions, Design & Architecture Museum; Mentee MICHELLE JACQUES, Chief Curator, Art Gallery of Greater Victoria; Career Support Committee Liaison

ELIZABETH FINCH, Lunder Curator of American Art, Colby College Museum of Art; Mentor WHITNEY TASSIE, Curator of Modern & Contemporary Art, Utah Museum of Fine Arts, University of Utah; Mentee ELLEN E. ROBERTS, Harold & Anne Berkley Smith Curator of American Art, Norton Museum of Art; Career Support Committee Liaison ALISON DE LIMA GREENE, Isabel Brown Wilson Curator, Department of Modern & Contemporary Art, Museum of Fine Arts, Houston; Mentor LAUREN HAYNES, Associate Curator, Permanent Collection, The Studio Museum in Harlem; Mentee JERRY SMITH, Hazel & William Hough Chief Curator, Museum of Fine Arts, St. Petersburg, Florida; Career Support Committee Liaison MITCHELL MERLING, Paul Mellon Curator & Head of Department of European Art, Virginia Museum of Fine Arts; Mentor CAITLIN CONDELL, Curatorial Assistant, Drawings, Prints, & Graphic Design, Cooper Hewitt, Smithsonian Design Museum; Mentee ANDALEEB BADIEE BANTA, Curator of European & American Art, Allen Memorial Art Museum, Oberlin College; Career Support Committee Liaison LISA ROTONDO-MCCORD, Deputy Director for Curatorial Affairs & Curator of Asian Art, New Orleans Museum of Art; Mentor AMANDA HELLMAN, Curator of African Art, Michael C. Carlos Museum Emory University; Mentee LAUREN ROSS, Curator, Institute for Contemporary Art, Virginia Commonwealth University; Career Support Committee Liaison

GRAHAM C. BOETTCHER, Deputy Director & The William Cary Hulsey Curator of American Art, Birmingham Museum of Art; Mentor JOHANNA G. SEASONWEIN, Senior Curator of Western Art, Jordan Schnitzer Museum of Art; Mentee MARY KAY LOMBINO, Curator of Contemporary Art & Photography, Frances Lehman Loeb Art Center, Vassar College; Career Support Committee Liaison LARRY NICHOLS, William Hutton Senior Curator, European and American Painting & Sculpture before 1900, Toledo Museum of Art; Mentor ELIZABETH ATHENS, Assistant Curator of American Art, Worcester Art Museum; Mentee CHRISTINA NIELSEN, William & Lia Poorvu Curator of the Collection, Isabella Stewart Gardner Museum; Career Support Committee Liaison MARK SCALA, Chief Curator, Frist Center for Visual Art; Mentor TAMARA SCHENKENBERG, Associate Curator, Pulitzer Foundation for the Arts; Mentee KLAUDIO RODRIGUEZ, Curator, The Patricia & Phillip Frost Art Museum, Florida International University; Career Support Committee Liaison APRIL M. WATSON, Curator, Photography, The Nelson-Atkins Museum of Art; Mentor DIANA GREENWOLD, Assistant Curator of American Art, Portland Museum of Art; Mentee PAULA RICHTER, Curator of Exhibitions & Research, Peabody Essex Museum; Career Support Committee Liaison

We are thankful for the support of The Emily Hall Tremaine Foundation and the AAMC Foundation President’s Circle for their support of this program. 53

AAMC & AAMC FOUNDATION PROGRAMS SAMUEL H. KRESS FOUNDATION AND ASSOCIATION OF ART MUSEUM CURATORS AFFILIATED FELLOWSHIP AT THE AMERICAN ACADEMY IN ROME The Samuel H. Kress Foundation and AAMC Affiliated Fellowship at the American Academy in Rome (AAR) honors exceptional curatorial vision and assists curators in advancing deserving projects by providing essential funding for required research in Italy. Awarded projects may be on any subject; thus the topic and research need not be Rome-specific, as the city’s artistic patrimony, as well as the rich content of its museums, libraries, and archives, are portals to conducting work on a myriad of subjects from all arts disciplines and time periods. In addition to Rome Prize Fellows and invited Residents, the AAR also welcomes individuals appointed by outstanding partner organizations as Affiliated Fellows. For periods of one to nine months, the Fellows pursue independent work in the arts and humanities while benefiting from the Academy’s intellectually stimulating environment and world-class resources. (listed alphabetically by program)

CONFERENCE TRAVEL FELLOWSHIPS AAMC Foundation oversees Travel Grant Fellowships to attend the organizations’ Annual Conference & Meeting. Many junior curators have extremely limited access to professional development funding or travel allowances through their institutions. In addition to junior curators in general, it has been AAMC’s experience that curators at all levels, working in small to mid-sized museums, are also in need of travel support. Since 2010 alone, over 160 individual Travel Grant Fellowships were awarded. With the generosity of the Samuel H. Kress Foundation and the Henry Luce Foundation, in 2016 we were able to support 29 curators with funding. The applications for these Fellowships open in January/February each year, and are available on artcurators.org. The AAMC Foundation is grateful to the Samuel H. Kress Foundation and the Henry Luce Foundation for their support of the Conference Travel Fellowship Program.

AAMC is proud to select from among its membership an outstanding curator for an Affiliated Fellowship to the AAR, and is grateful to the Kress Foundation for their support of the program.

FELLOWSHIP AWARDEES 2014 – 2015 HILLIARD TODD GOLDFARB, Senior Curator, Collections & Curator of Old Masters, Montreal Museum of Fine Arts, research on Faith, Death and Eternal Life in the Art of Poussin 2015 – 2016 JUDITH MANN, Curator, European Art to 1800, Saint Louis Art Museum, research on Painting on Stone, 1520-1800 2016 – 2017 ANDALEEB BADIEE BANTA, Curator of European & American Art, Allen Memorial Art Museum, Oberlin College, research on Old Master Drawings @ Oberlin: The Italian Drawings The AAMC is thankful to have partners, such as the Samuel H. Kress Foundation and American Academy in Rome, that share our organization’s mission. We are grateful for the funding support provided by the Samuel H. Kress Foundation for this Fellowship.

PROGRAMMING PRODUCED WITH PARTNER ORGANIZATIONS AAMC believes in collaboration between organizations â&#x20AC;&#x201C; sharing knowledge and experience in presenting joint dialogues will enable all of us to better serve our larger community.

PROFESSIONAL DEVELOPMENT WEBINARS Through live online webinars, a medium that reaches our entire membership, regardless of location, and that exist beyond an air date in archival videos on artcurators.org, AAMC offers discussions on essential skills, timely issues, and latest discoveries that define the profession of art curator and enhance understanding and development in the field. Our most recent series of webinars have focused on the theme How Art Curators Get Their Ideas Out There. Webinar topics were selected based on this idea as it relates to exhibitions, scholarship, and the broader social context.

In 2014, discussions began with the Association of Art Museum Directors (AAMD) to present a program for AAMC members based on the current efforts and knowledge of AAMD in the changing laws regarding ivory and provenance. We were delighted to present an all day workshop in February 2015 together. After meetings with the National Coalition Against Censorship (NCAC), AAMC collaborated with them to produce a program on Handling Censorship internally and externally, through social media. As part of an ongoing relationship with the College Art Association (CAA) since 2010, we have presented affiliated sessions at their annual meeting and look to further our programming during CAA to bring in additional voices to our sessions as well. We are also in the midst of planning a program with ICOM as part of our regional presentations. Together, we can better serve the visual arts community, and we look forward to furthering our efforts.

Currently organized and moderated by our Professional Development Committee, we look to expand the scope of our Professional Development Webinars by working with other AAMC Committees and Task Forces as well. If you have a topic you would like to see addressed in an upcoming webinar, please email programs@artcurators.org

ARCHIVED AAMC WEBINARS listed by recording date

Curating Social Justice: Three Case Studies, January 2016 Label Writing, October 2015 Curators and Community Engagement, June 2015 How Curatorial Projects Get Funded: Navigating the Institutional Machine, March 2015 Both Sides of the Board, October 2014 Curating from the Outside, August 2014 Working with Living Artists: A Roadmap to Navigate Commissions, Interpretation, and Contracts, April 2014 Authentication and Expertise by Curators, December 2013 Accounting for Curators: Building the Exhibition Budget, September 2013 Mobile Technology & Curatorial Practice, May 2012

RECENT PROGRAMMING listed by date

AAMC & NCAC Workshop: Handling Controversy, March 2016 AAMC Affiliated Session at CAA: Paths to a Curatorial Career, February 2016 ADAA & AAMC Reception: Presenting the ADAA Curatorial Research & Development Awards, March 2015 AAMD & AAMC Program: Discussion and Workshop on Provenance, Cultural Property and Evolving Ivory Laws, February 2015 AAMC Affiliated Session at CAA: Exploring New Models of Curatorial Scholarship, February 2015 AAMC Affiliated Session at CAA: The Art Museum Curator: Persevere, Adapt, or Reinvent, February 2014

AAMC & AAMC FOUNDATION PROGRAMS (CONTâ&#x20AC;&#x2122;D)

THE TERRA INTERNATIONAL FELLOWSHIP WITH THE ASSOCIATION OF ART MUSEUM CURATORS (AAMC) FOUNDATION Museums, regardless of size and location, continue dialogues crossing international borders and cultures, and AAMC desires to facilitate these conversations on the curatorial level to further strategies for success in building innovative international partnerships. We believe it is of utmost importance to ensure the curatorial voice is given an integral role in the global discourse between museum professionals. One way to achieve this is to facilitate connections curator-tocurator, and as such we are honored to be announcing our first program in support of these goals. The Terra International Fellowship with the Association of Art Museum Curators (AAMC) Foundation program is a two-year engagement for three non-US based curators working on or having worked with historic American art (c. 1500â&#x20AC;&#x201C;1980) that will establish long lasting relationships between the International Fellowship grantee, AAMC, our members, and within a network of fellow grantees. This new initiative pairs a grantee with a US based liaison for a direct partnership in year one, and in year two the grantee will be engaged with an AAMC Committee to bring an international voice within our larger leadership base, in turn expanding the knowledge of our own members on the issues of curators abroad. The program concludes with a webinar for the full AAMC membership where the grantee will discuss the program and/or a specific project. Additional benefits include four years of AAMC membership, with access to all the benefits of it; a virtual chat space for current, past and incoming classes; and an alumni reception and review of initial program goals post program. The applications for the Program will open in the Fall of 2016, and we look to our membership to work with AAMC in sharing news about this important opportunity. We are grateful for the support of The Terra Foundation for American Art for their funding of this program.

SPEAKER, PANELIST & PRESENTER BIOGRAPHIES

(listed alphabetically)

HILTON ALS, Staff Writer & Theater Critic, The New Yorker Hilton Als became a staff writer at The New Yorker in 1994 and a theatre critic in 2002. He began contributing to the magazine in 1989, writing pieces for The Talk of the Town. Before coming to The New Yorker, Als was a staff writer for the Village Voice and an editor-at-large at Vibe. Als edited the catalogue for the 1994-95 Whitney Museum of American Art exhibition Black Male: Representations of Masculinity in Contemporary American Art. His first book, The Women, was published in 1996. His most recent book, White Girls, a finalist for the National Book Critics Circle Award in 2014, discusses various narratives of race and gender. In 1997, the New York Association of Black Journalists awarded Als first prize in both Magazine Critique/Review and Magazine Arts and Entertainment. He was awarded a Guggenheim for creative writing in 2000 and the George Jean Nathan Award for Dramatic Criticism for 2002-03. In 2009, Als worked with the performer Justin Bond on Cold Water, an exhibition of paintings, drawings, and videos by performers, at La MaMa Gallery. In 2010, he co-curated Self-Consciousness, at the VeneKlasen/ Werner gallery, in Berlin, and published Justin Bond/ Jackie Curtis. In 2015, he collaborated with the artist Celia Paul to create Desdemona for Celia by Hilton, an exhibition for the Metropolitan Opera’s Gallery Met. Als is an associate professor of writing at Columbia University’s School of the Arts and has taught at Yale University, Wesleyan, and Smith College. He lives in New York City. LESLIE ANDERSON-PERKINS, Curator of European, American & Regional Art, Utah Museum of Fine Arts Leslie Anderson-Perkins is Curator of European, American, & Regional Art at the Utah Museum of Fine Arts, University of Utah. Prior to her arrival in Salt Lake City, Anderson-Perkins was the Curatorial Assistant in the Departments of European and American Painting, Sculpture, & Works on Paper at the Indianapolis Museum of Art (IMA), where she recently curated A Land Enchanted: The Golden Age of Indiana Art, 1877-1902. Additional museum experience includes a Samuel H. Kress Interpretive Fellowship at

the IMA and internships at The Metropolitan Museum of Art, the National Gallery of Denmark, the Frist Center for the Visual Arts, and the Samuel P. Harn Museum of Art. She held teaching appointments at Brooklyn College, Parsons School of Design, Indiana University – Purdue University Indianapolis, and the University of Indianapolis, and she has served as a reader for the Advanced Placement Art History exam. Her research, which has appeared in Nineteenth-Century Art Worldwide and Rutgers Art Review, received support from the Danish-American Fulbright Commission, the American-Scandinavian Foundation, and the Society for the Advancement of Scandinavian Study. AndersonPerkins earned a BA in History from the University of Florida, an MA in Art History from the same institution, and an MPhil in Art History from CUNY Graduate Center, where she is completing her PhD. SHARON MATT ATKINS, Vice Director, Exhibitions & Collections Management, Brooklyn Museum; Marketing & Communications Committee Since joining the Brooklyn Museum in 2009, Sharon Matt Atkins has held the roles of Managing Curator of Exhibitions and, now, Vice Director, Exhibitions and Collections Management. At the Brooklyn Museum, she most recently organized Stephen Powers: Coney Island Is Still Dreamland (To a Seagull) and FAILE: Savage/ Sacred Young Minds. In 2014, she organized Swoon: Submerged Motherlands, as well as the Brooklyn presentation of Ai Weiwei: According to What?. In 2012, she co-organized GO: a community-curated open studio project with Shelley Bernstein. She has also coordinated exhibitions devoted to Andy Warhol and Norman Rockwell, and has facilitated numerous other special exhibitions. Before her move to Brooklyn, Atkins was the Assistant Curator at the Currier Museum of Art, Manchester, New Hampshire, since 2004. There, she was responsible for modern and contemporary art, and organized exhibitions from the collection as well as traveling loan shows—among them Andy Warhol: Pop Politics, which traveled to the Neuberger Museum of Art, and Spotlight New England: Kirsten Reynolds. Previously, she held positions at the Museum of Fine Arts, Boston, The Metropolitan Museum of Art, and Jane Voorhees Zimmerli Art Museum. Atkins received an MA and a PhD from Rutgers University.

RENÉ PAUL BARILLEAUX, Chief Curator/Curator of Contemporary Art, McNay Art Museum; Finance & Audit Committee & Fundraising Initiatives Member René Paul Barilleaux is Chief Curator/Curator of Contemporary Art at the McNay Art Museum in San Antonio, Texas. At the McNay, he has greatly expanded the postwar and contemporary art collection and developed new collecting areas including photo-based work and installation art. For well over three decades Barilleaux has organized exhibitions of modern and contemporary art, many accompanied by books and catalogues, including those focused on work by Lynda Benglis, Jane Hammond, Valerie Jaudon, Joseph Marioni, Georgia O’Keeffe, Sandy Skoglund, Andy Warhol, Eudora Welty, and Andrew Wyeth. Exhibitions for the McNay include American Art Since 1945: In a New Light; New Image Sculpture; Andy Warhol: Fame and Misfortune; Beauty Reigns: A Baroque Sensibility in Recent Painting; and he is currently organizing Telling Tales: Contemporary Narrative Photography. Also at the McNay, Barilleaux initiated a video series and a longterm lobby installation series. He has contributed to a number of publications, including the Whitney Museum’s Robert Indiana: Beyond LOVE. In 2015, Barilleaux was a Fellow at the Center for Curatorial Leadership. He is a national peer, Art in Architecture Program, US General Services Administration; peer reviewer, American Alliance of Museums, Museum Assessment Program; member, San Antonio Arts Commission/Public Art Committee; board member, Allegro Stage Company; board member, Tres Centurias Foundation; and advisor, Artist Foundation of San Antonio. Before joining the McNay, Barilleaux held positions at the Mississippi Museum of Art, College of Charleston, Madison Art Center, and Museum of Holography. He received a BFA from The University of Southwestern Louisiana and an MFA from Pratt Institute. KATHLEEN BICKFORD BERZOCK, Associate Director of Curatorial Affairs, Mary & Leigh Block Museum of Art, Northwestern University Kathleen Bickford Berzock (PhD, Art History, Indiana University, 1995) is Associate Director of Curatorial Affairs at the Mary and Leigh Block Museum of Art, Northwestern University, where she provides artistic leadership of the museum’s exhibition program and collection in support of the museum’s cross-cultural and interdisciplinary mission. Berzock was curator of African Art at the Art Institute of Chicago from 1995 – 2013. There she oversaw the development and display of the museum’s African art collection, including its reinstallation in newly designed galleries in 2012. She also presented internationally acclaimed exhibitions, including the groundbreaking Benin-Kings and Rituals: Court Arts from Nigeria (2008). In 2005 she curated and wrote the scholarly catalogue for the exhibition For Hearth and Altar: African Ceramics from the Keith Achepohl Collection, which brought important focus to the ceramic arts of the African continent. She also developed special exhibitions of work from the museum’s permanent collection such as The Miracles of Mary: A Seventeenth Century Ethiopian Manuscript (2002), and published on exhibition and collection related topics. In 2010 the book Representing Africa in American Art Museums: A Century of Collecting and 58

Display, which Berzock conceived and co-edited with Christa Clarke of the Newark Museum, was published by University of Washington Press. In its thirteen essays the book chronicles more than a century of building and presenting collections of African art in the United States, as well as exploring shifts in meaning and public perception of African art. GRAHAM C. BOETTCHER, Deputy Director & The William Cary Hulsey Curator of American Art, Birmingham Museum of Art; Vice President, Finance, Board of Trustees; Finance & Audit Committee & Fundraising Initiatives Co-Chair Graham C. Boettcher is Deputy Director & The William Cary Hulsey Curator of American Art at the Birmingham Museum of Art in Alabama, where he has worked since 2006, and was Luce Foundation Curatorial Fellow of American Art until 2008. He was previously a curatorial fellow at the Yale University Art Gallery, and has held research fellowships at the Amon Carter Museum of American Art, and the Terra Foundation Summer Residency in Giverny, France. Among the many diverse exhibitions Boettcher has curated are Pražské noci / Prague Nights: Czech Modern Art from the Hascoe Collection (2007), Sea Fever: American Art and the Aquatic Imagination (2007), A Masterpiece in Our Midst: Robert S. Duncanson’s A Dream of Italy (2010), A Stitch in Time: Southern Quilts in the African-American Tradition (2011), and The Look of Love: Eye Miniatures from the Skier Collection (2012), for which he edited and contributed to a major publication by the same name. In 2015, he co-curated (with Kelli Morgan) Black Like Who: Exploring Race and Representation, an exhibition that considered who renders imagery of blackness in American art and contemplated the various reasons why. He is currently working on an exhibition exploring the Viking Revival in American art. Boettcher received his BA and PhD from Yale University, and an MA from the University of Washington in his home state. He has been a trustee of the Association of Art Museum Curators since 2010, and currently serves as its Vice President of Finance. MELISSA BURON, Associate Curator of European Art, Fine Arts Museums of San Francisco; Conference Committee Member Melissa Buron is the Associate Curator of European Art at the Fine Arts Museums of San Francisco. She graduated magna cum laude from Brown University (2005) where she earned a BA with Honors in art history. She also holds an MA with Distinction in art history from the University of London, Birkbeck College (2007), where she is currently enrolled as a PhD candidate. Melissa was awarded a Murray Bequest Travel and Research Grant from Birkbeck, which facilitated her MA dissertation research in Florence, Italy. An enthusiastic scholar of Victorian art and culture, Melissa has conducted extensive primary research in London archives. Melissa authored an essay on Andrea Mantegna for Masters of Venice: Renaissance Painters of Passion and Power (2011) and compiled the selected bibliography for Girl with a Pearl Earring: Dutch Paintings from the Mauritshuis (2013); she also wrote plate commentaries and prepared a selected bibliography for Birth of Impressionism:

Masterpieces from the Musée d’Orsay (2010). She contributed an essay on the French paintings exhibited at San Francisco’s 1915 Panama-Pacific International Exposition for the publication that coincided with the Fine Arts Museums’ centennial exhibition, Jewel City: Art from San Francisco’s Panama-Pacific International Exposition (2015). Melissa joined the Fine Arts Museums in June 2008, and her contributions have supported fourteen temporary exhibitions on subjects from the fifteenth to the nineteenth century. Melissa’s forthcoming projects include a major monographic exhibition about James Tissot (1836– 1902), scheduled for 2019. DEAN DADERKO, Curator, Contemporary Arts Museum Houston Dean Daderko is the Curator at the Contemporary Arts Museum Houston (CAMH). His recent exhibitions include THE INTERVIEW: Red, Red Future, a commissioned solo project by the artist MPA that considers the impending human colonization of Mars; Double Life, with works by Jérôme Bel, Wu Tsang, and Haegue Yang, which explored possibilities for performance without live bodies; LaToya Ruby Frazier: WITNESS, which documented the decline of US manufacturing and the rise of globalization as evidenced in the bodies of three generations of African American women; and Parallel Practices: Joan Jonas & Gina Pane, which brought together works by two foundational and pioneering performance and multimedia artists working in New York and Paris, respectively. Daderko is currently preparing Atlas, Plural, Monumental, Paul Ramirez Jonas’s first survey exhibition in the Americas. For exhibition catalogues or more information, please visit www.camh.org or email ddaderko@camh.org. PAUL R. DAVIS, Curator of Collections, The Menil Collection Paul joined the Menil in 2014 as Curator of Collections and oversees the Menil’s permanent collection of art from Africa, the Pacific Islands, the Americas, and the ancient Mediterranean. Before coming to the Menil, he was an Andrew W. Mellon Postdoctoral Fellow in the Centre for the Creative Arts of Africa at the University of Witwatersrand in Johannesburg, South Africa. He has been working with visual artists in Mali since 2005 and completed his doctorate in art history at Indiana University, Bloomington, in 2012. His dissertation examines social histories of painting and art education in Bamako during colonial, independence, and post-independence eras. His research on Malian visual art has been published in the anthology Africa in Europe: Studies in Transnational Practice in the Long Twentieth Century published by University of Liverpool and Critical Interventions: Journal of African Art History and Visual Culture. His recent exhibition projects have included Affecting Presence and the Pursuit of Delicious Experiences (2015) and Victor Forestier Sow: A Pioneer Malian Painter (2014). TACITA DEAN, Artist & Founder, savefilm.org Tacita Dean is a British visual artist born in 1965 in Canterbury. She lives and works in Berlin and Los Angeles, where she was recently the Artist

in Residence at the Getty Research Institute (2014/2015). Dean has been the recipient of numerous prizes including the Sixth Benesse Prize at the 51st Venice Biennale in 2005, the Hugo Boss Prize at the Solomon R. Guggenheim Museum, New York, in 2006 and the Kurt Schwitters Prize in 2009. Her work was recently presented at the 12th Istanbul Biennial (2015); TIFF Bell Light Box, Toronto (2015); the 19th Biennale of Sydney (2014); Statens Museum for Kunst, Copenhagen, Denmark (2014); The Fabric Workshop and Museum, Philadelphia (2013); Australian Centre for Contemporary Art, Melbourne (2013); the Botín Foundation, Santander (2013); Documenta (13), Kassel (2012); the New Museum, New York (2012); the Turbine Hall, Tate Modern, London (2011) and the Museum Moderner Kunst Stiftung Ludwig, Vienna (2011). JANE ANN DINI, Associate Curator of Paintings & Sculpture, The American Wing, The Metropolitan Museum of Art; Advocacy Task Force Member Jane Ann Dini, Associate Curator of Paintings and Sculpture, joined the staff of the American Wing at The Metropolitan Museum of Art in 2015. Previously, she was the Assistant Curator of American Art at the Detroit Institute of Arts. She received her PhD and MA in the History of Art from the University of California, Santa Barbara. Jane also trained at Sotheby’s, London, and has held the National Endowment for the Arts Curatorial Fellowship at the Harvard University Art Museums. She was a predoctoral fellow at the Smithsonian American Art Museum and was awarded the two-year Woodrow Wilson Postdoctoral Fellowship at California State University, Los Angeles. Among her publications she has written several essays on California landscape painting and on the artist John Singer Sargent, including contributing essayist to the exhibition catalogue, Sargent and Italy (Princeton). Jane is currently preparing a book to be entitled John Singer Sargent and the Art of Performance (New England University Press) and is organizing a major travelling exhibition, The Art of America Dance, opening at the DIA in 2016 accompanied by a multi-authored scholarly catalogue distributed by Yale University Press. XANDRA EDEN, Executive Director & Chief Curator, DiverseWorks; Conference Committee Member Xandra Eden is Executive Director & Chief Curator of DiverseWorks, Houston. Prior to arriving in Houston, she was Curator of Exhibitions for the Weatherspoon Art Museum at the University of North Carolina at Greensboro (2005-2015); Assistant Curator at The Power Plant, Toronto (1999-2005), and also held positions at the Pollock-Krasner Foundation, New York; Texas Fine Arts Association (now Austin Contemporary) and Women & Their Work Gallery, Austin. Since 1999, Eden has organized more than 80 small and large contemporary art exhibitions, special events/projects, and publications. Her exhibitions include Katie Grinnan: Nocturnal Hologram (2015); Zones of Contention: After the Green Line (2015); and Diana AlHadid (2013). She graduated with a BFA from SUNY Purchase (1990) and MA from the Center for Curatorial Studies, Bard College (1999).

HELEN C. EVANS, Mary & Michael Jaharis Curator for Byzantine Art, The Metropolitan Museum of Art; President, Board of Trustees Helen C. Evans, president of the AAMC, is the Mary and Michael Jaharis Curator for Byzantine Art at The Metropolitan Museum of Art. A graduate of Tulane University with her PhD from New York University’s Institute of Fine Arts, she held fellowships at the Museum before becoming an assistant curator in 1991. Her three major exhibitions on Byzantium in 1997, 2004, and 2012 were declared exhibitions of the year by the NY Times, Apollo Magazine, and/or the Wall Street Journal. One won the Barr Award from the CAA and best catalogue from ARLIS/NA; another, the Iranian Ministry of Culture’s World Book Award. She installed the Museum’s Mary and Michael Jaharis Galleries of Byzantine Art in 2000, the first permanent galleries for Byzantine art in a major international museum, and their further expansion in 2008. She has advised on museum projects in Bulgaria and Georgia, mentored interns, taught at various universities, and most recently was a Getty fellow.

institutions. Her publications include The Convergence of Aesthetics, Politics and Culture: Jeff Donaldson’s Wives of Shango, It’s Showtime! The Birth of the Apollo Theater, The ‘Museum Baby’ Grows Up: Being a Curator of Color in a Monochromatic Art Museum World, and Breaking Racial Barriers: African American Portraits in the Harmon Foundation Collection. Dr. Fleming received her BA from Spelman College, and her MA and PhD in American art history from the University of Maryland, College Park. SILVIA FORNI, Curator of Anthropology, Royal Ontario Museum Dr. Silvia Forni is Curator of Anthropology in the ROM’s Department of World Cultures. She is the curator of the African collection, and responsible for the permanent and rotating display of African artworks in the Shreyas and Mina Ajmera Gallery of Africa, the Americas, and Asia-Pacific. She is also Associate Professor of anthropology at the University of Toronto where she teaches Anthropology of Material Culture, Ethnography of Africa, and Anthropology of Art. Together with Julie Crooks and Dominique Fontaine she is responsible for the Of Africa project, a three year multiplatform project aimed to support a sustained and long term promotion of the cultural and creative diversity of Africa through an engagement with the collections in the museum and in dialogue with artists and creators active today. She recently edited the volume Africa in the Market with Christopher B. Steiner (ROM Publications, 2016). Currently she is working with Doran Ross on the exhibition and book project Art, Honor and Ridicule: Asafo Flags from Southern Ghana.

TULIZA FLEMING, Curator & Art Historian, Smithsonian National Museum of African American History & Culture Dr. Tuliza Fleming is a Curator and art historian at the Smithsonian’s National Museum of African American History and Culture (NMAAHC), scheduled to open in the Fall of 2016. Since joining the NMAAHC in 2007, she has worked to build the museum’s foundational collection, supervised the creation of a collectionbased multi-media interactive, co-curated the traveling exhibition, Ain’t Nothing Like the Real Thing: How the Apollo Theater Shaped American Entertainment, and served as the lead curator for the museum’s permanent art exhibition, Visual Art and the American Experience. Prior to joining the NMAAHC, she was the Associate Curator and head of the American Art department at The Dayton Art Institute. During her nearly 5-year tenure at the Institute, she curated seventeen inhouse and traveling exhibitions including Around the Bend: Monumental Steel Sculptures by Bret Price, The Art of Louis Comfort Tiffany, and Monet and the Age of American Impressionism. She also supervised the reinstallation of the museum’s American Art wing. Over the course of her career, Dr. Fleming has worked in and consulted for a variety of museums and cultural 60

RENÉE FRANKLIN, Director of Audience Development, Saint Louis Art Museum Renée Franklin is Director of Audience Development for the Saint Louis Art Museum. She creates points of entry for diverse communities to embrace visual art, think critically and creatively, and participate in arts programming. Renée believes that the arts have the power to transcend differences and build bridges for mutual understanding while challenging institutional inequities. For more than fifteen years, Renée has led the Museum’s efforts to initiate and develop sustainable relationships and initiatives to encourage museum visitation and program participation both within the museum and beyond its walls. She redesigned the Romare Bearden Minority Graduate Fellowship which now serves as a national Museum model for increasing leadership and staffing in cultural institutions. Renée’s other successful initiatives include: the Friends of African American Art Collectors Circle; Youth smART Teen Assistant program; Art with Us, a community residency art program; Master Teacher Fellowship; Concepts of Beauty and Bias program, as well as several museumwide cultural celebrations. Renée is also the author of Artful Message, a regular art education column for the St. Louis American newspaper. Renée provides guidance and support to educational and cultural institutions seeking to expand and enhance their community engagement initiatives. She holds a Master’s degree in education from Webster

University and a degree in marketing and business administration from Towson University in Baltimore. Before joining the Saint Louis Art Museum, Renée served as Director of Education and Public Programs for Worldways Children’s Museum of St. Louis and worked as a marketing representative for several Fortune 100 companies. AIMÉE FROOM, Curator, Art of the Islamic Worlds, Museum of Fine Arts, Houston Aimée Froom is Curator, Art of the Islamic Worlds, Museum of Fine Arts, Houston. In 2015, she reinstalled and expanded the permanent galleries and al-Sabah collection. There are now over 300 works of art from the Islamic worlds on view at the MFAH. She is also Senior Lecturer, Rice University, where she teaches courses on Islamic Art and Architecture. Formerly Hagop Kevorkian Associate Curator of Islamic Art, Brooklyn Museum, Dr. Froom has published books and articles and lectured, in particular on the decorative arts of the Islamic worlds. She has acted as consultant to many museums and has taught graduate and undergraduate courses at Brown University, Bard Graduate Center for the Decorative Arts, Trinity College, American University of Paris, and the School of Oriental and African Studies, London. Dr. Froom holds a BA from Brown University, MA from University of Massachusetts at Amherst, and a PhD from the Institute of Fine Arts, NYU. CATHERINE L. FUTTER, Director of Curatorial Affairs, The Nelson-Atkins Museum of Art; Board of Trustees; Career Support Committee Member Catherine L. Futter is the Director of Curatorial Affairs at The Nelson-Atkins Museum of Art. Prior to the Nelson-Atkins, Catherine was at the Minneapolis Institute of Arts and the Chrysler Museum of Art. While at the Nelson-Atkins, Catherine has overseen permanent collection reinstallation projects, curated contemporary art, design and architecture exhibitions, and co-curated a major international loan traveling exhibition, Inventing the Modern World: Decorative Arts at World’s Fairs, 1851-1939. Catherine is also the project manager for the museum’s cultural district project and a member of the museum’s Strategic Leadership Group. In 2014, she was a Fellow with the Center for Curatorial Leadership. Catherine is actively involved with mentorship: she is co-chair of the Association of Art Museum Curators Career Support Committee and a mentor for MINDDRIVE, an after-school program for urban youth; Charlotte Street Foundation Studio Residency Program; and the Yale University Graduate Student Assembly and Graduate & Professional Student Senate Alumni Matching Program.

1999, Maria has worked in the development offices of the Museum of Contemporary Art, Los Angeles, California Institute of the Arts in Valencia, and Art Center College of Design in Pasadena. Maria extends her professional endeavors in the field of development into her personal philanthropic pursuits, which currently include Arts for LA, Junior League of Los Angeles, and the National Charity League, Los Angeles Founder Chapter. She is a former board member of the YWCA Greater Los Angeles and CARA, the California Advancement Researchers Association. HILLIARD TODD GOLDFARB, Senior Curator, Collections, Curator of Old Masters, The Montreal Museum of Fine Arts; Conference Committee Member Since 1998, Hilliard Goldfarb has served at the Montreal Museum of Fine Arts in the capacities listed above. He also oversees non-contemporary European prints and drawings. From 1990-1998, he held the post of Chief Curator of Collections at the Isabella Stewart Gardner Museum. His prior postings were as Curator of European Art at the Hood Museum, Dartmouth College, Assistant Curator of Prints and Drawings at the Cleveland Museum of Art, and Assistant Professor at Case Western Reserve University. Dr. Goldfarb received his PhD at Harvard University. His specializations include the Italian sixteenth through eighteenth centuries, especially the art of Venice, the French seventeenth century, and Dutch art of the Golden Age, in all of which fields he has published and organized exhibitions. In 2015 he was an Associate Fellow at the American Academy in Rome through a joint grant of the AAMC and the Kress Foundation, researching a project on Nicolas Poussin. His most recent publication, an article on the French Caravaggesque painter, Valentin de Boulogne, appeared in The Burlington Magazine in October 2015. He is an Officer of the Order of Arts and Letters of the French Republic.

MARIA ROBINSON GLOVER, Associate Director of Development, Office of Strategic Advancement at the Southern California Institute of Architecture (SCI-Arc) Maria Robinson Glover recently joined the Office of Strategic Advancement at the Southern California Institute of Architecture (SCI-Arc) in Los Angeles after several years with the office of development at the Los Angeles County Museum of Art (LACMA). She discovered the field of development as a college intern for the Atlanta History Center in Atlanta, Georgia. Since 61

PAUL C. HA, Director, MIT List Visual Arts Center Paul C. Ha is currently the Director of the Massachusetts Institute of Technology’s (MIT) List Visual Arts Center. The List Center is the contemporary art museum at MIT, and is well known for presenting experimental and timely exhibitions. Artists exhibited during Ha’s tenure include Rosa Barba, Thea Djordjadze, Joan Jonas, Hans Op de Beeck, Katrin Sigurdardottir, and Anicka Yi. The List also runs MIT’s Percent-for-Art program, which is one of the most outstanding collections of public art, and it maintains more than 3,500 works in the permanent collection. Ha was the commissioner and co-curator of the United States Pavilion at the La Biennale di Venezia 56th International Art Exhibition, presenting artist Joan Jonas at the 2015 Venice Biennale, along with co-curator Ute Meta Bauer, Director at the Centre for Contemporary Art at the Nanyang Technological University, Singapore. In 2015 the List commissioned A TRANSLATION FROM ONE LANGUAGE TO ANOTHER, a yearlong mural installation by acclaimed artist Lawrence Weiner in partnership with the Rose Fitzgerald Kennedy Greenway Conser-vancy for downtown Boston’s Dewey Square. Previous to the List, Ha was the founding director of the Contemporary Art Museum St. Louis (CAM), where he oversaw the construction and opening of the new facility designed by Brad Cloepfil of Allied Works Architecture. During Ha’s tenure, CAM produced 92 exhibitions and brought 223 artists to St. Louis. Prior to joining CAM, Ha was the Deputy Director of Programs and External Affairs at the Yale University Art Gallery and Executive Director of White Columns in New York. During his career, Ha has overseen three major capital campaigns (CAM, the Yale University Art Gallery, and White Columns), and has a proven track record of strengthening institutions, ensuring stability and a sound fiscal legacy. At White Columns Ha curated more than 50 solo and group exhibitions and exhibited artists such as Sarah Sze, Christoph Büchel, Jessica Craig-Martin, Rachel Feinstein, Anna Gaskell, and Aïda Ruilova early in their careers, often presenting their first solo exhibition. A highly respected member of the museum community, Ha has over twenty-five years of professional experience in art, including museum administration, fundraising, and curating, and is widely recognized among artists, benefactors, and art professionals for his accessibility and commitment to the visual arts. 62

CODY HARTLEY, Director of Curatorial Affairs, Georgia O’Keeffe Museum As Director of Curatorial Affairs at the Georgia O’Keeffe Museum, Dr. Cody Hartley leads the Museum’s curatorial program with oversight of exhibitions, publications, conservation, and collection management, as well as overseeing marketing and visitor services. He was a key architect behind the recordbreaking sale of O’Keeffe’s Jimson Weed for $44.4 million, with the proceeds going to support future acquisitions at the Museum. Hartley has also been instrumental in soliciting and securing multiple sixand seven-figure gifts. Hartley is currently working on multiple international projects, including an O’Keeffe retrospective with the Tate Modern and an exhibition pairing O’Keeffe with two leading Australian modernists, in partnership with museums in Melbourne, Sydney, and Brisbane. Previously he worked at the Museum of Fine Arts, Boston, the Sterling and Francine Clark Art Institute in Williamstown, MA, and the Santa Barbara Museum of Art. At the MFA, he served as a curator of American paintings and then Director of Gifts of Art. In this capacity, Hartley facilitated gifts and solicited funds to strengthen and expand the collection; notable gifts during this time include the Robert Owen Lehman Collection of West African art, the Lane Collection of photography and modernist art, the Axelrod Collection of art by AfricanAmerican artists, and the Daphne Farago collection of contemporary decorative art. Hartley earned his MA and PhD in Art History from the University of California, Santa Barbara, following undergraduate study at the University of Wyoming. CAITLIN HASKELL, Assistant Curator of Painting & Sculpture, San Francisco Museum of Modern Art Caitlin Haskell is Assistant Curator of Painting and Sculpture at the San Francisco Museum of Modern Art (SFMOMA). Since joining the museum in 2012, she has curated or co-curated an array of exhibitions drawing on the museum’s permanent collection as well as the Doris and Donald Fisher Collection at SFMOMA. Haskell holds a BA in art from Davidson College and an MA and PhD in art history from the University of Texas at Austin. A past contributor to the Rauschenberg Research Project and a member of SFMOMA’s Artist Initiative on Vija Celmins, her current research and publication projects focus on the critical reception and creative practice of Henri Rousseau, Edvard Munch, Walter De Maria, and David Hammons.

ROCK HUSHKA, Chief Curator & Curator of Contemporary & Northwest Art, Tacoma Art Museum Rock Hushka is Chief Curator and Curator of Contemporary and Northwest Art at Tacoma Art Museum and serves as Affiliate Assistant Professor at the University of Washington. He studied at the University of Washington and earned a Master of Arts degree in art history from the University of Wisconsin – Madison. Hushka has curated nearly 75 projects including The Forty Part Motet by Janet Cardiff, A Reworking of Spem in Alium 1573, by Thomas Tallis; Andy Warhol’s Flowers for Tacoma; Mary Lucier: Plains of Sweet Regret; and seventeen major exhibition and catalogue projects for regional artists including three Northwest Biennials, Building Tradition: Gifts in Honor of the Northwest Collection; The Romantic Vision of Michael Brophy; and Loud Bones: The Jewelry of Nancy Worden. During his tenure the permanent collection has increased by over 2000 works by Northwest artists across all media. In 2010, Hushka shared a Research Fellowship from the Warhol Foundation for the nationally touring exhibition Art AIDS America. HEATHER IGLOLIORTE, Assistant Professor, Department of Art History, Concordia University Heather Igloliorte is an Assistant Professor of Art History at Concordia University in Montreal, Quebec. Her teaching and research interests center on Inuit and other Native North American visual and material culture, circumpolar art studies, performance and media art, the global exhibition of Indigenous arts and culture, and issues of colonization, sovereignty, resistance and resilience. Some of her recent publications related to this work include chapters and catalogue essays in Negotiations in a Vacant Lot: Studying the Visual in Canada (2014); Manifestations: New Native Art Criticism (2012); Curating Difficult Knowledge (2011); and Inuit Modern (2010). She is also an active independent curator. One of her current projects is the reinstallation of the permanent collection of Inuit art at the Musée National des Beaux-Arts du Québec. Other recent curatorial projects include aboDIGITAL: The Art of Jordan Bennett (2012), Decolonize Me (Ottawa Art Gallery, 2011 – 2015), and “we were so far away”: The Inuit Experience of Residential Schools (Legacy of Hope Foundation, 2009 – ongoing). Igloliorte currently serves on the Board of Directors for North America’s largest Indigenous art historical association, the Native North American Art Studies Association, and was recently appointed to the Faculty Council of the Otsego Institute for Native American Art History at the Fenimore Art Museum in Cooperstown, New York. MICHELLE JACQUES, Chief Curator, Art Gallery of Greater Victoria; Career Support Committee Member Michelle Jacques is currently the Chief Curator at the Art Gallery of Greater Victoria, where she is responsible for guiding a curatorial and education program that links contemporary practices to the Gallery’s historical collections and legacies. Recent curatorial projects include Anna Banana: 45 Years of Fooling Around with A. Banana (co-curated with Helen Marzolf, 2015); In Another Place, And Here, an examination of the intersections of photography, identity and place (co-curated with Toby Lawrence, 2015); and Jock Macdonald: Evolving Form (co-curated with Linda Jansma and Ian M. Thom, 2014).

Prior to moving west, she held various curatorial positions at the Art Gallery of Ontario, most recently, Acting Curator, Canadian Art. While her responsibilities at the AGO were varied, an important focus of her work there was creating space for emerging Canadian artists. Projects included Brian Jungen: Tomorrow, Repeated (2011) Sarah Anne Johnson: House on Fire (2009); and All Together Now: Recent Toronto Art (2008). Michelle received a BA (Honours) in art history and psychology from Queen’s University, Kingston, and an MA in art history from York University, Toronto. She is also an educator who has taught art history, curatorial studies, and art writing at the post-secondary level. Recent and forthcoming writing includes Camille Turner: There’s nothing new under the sun but there are new suns in More Caught in the Act: An Anthology of Performance Art by Canadian Women (ed. Johanna Householder and Tanya Mars, YYZ Books, 2016) and Born in Detroit in Introducing Suzy Lake (ed. Georgiana Uhlyarik, Black Dog Publishing, 2014). BONNA KOL, Executive Director, Asia Society Texas Center Bonna Kol is a nonprofit executive with more than 20 years of experience in the development and implementation of multi-million dollar projects. As of January 2014, Bonna has been serving as the Executive Director of Asia Society Texas Center. Asia Society’s mission is to promote mutual understanding and build partnerships between the people, leaders, and institutions of the United States and Asia. Prior to her appointment at Asia Society, she was the Chief Advancement Officer at KIPP Houston Public School, a charter school serving more than 10,000 students in the Houston area. As a member of their executive team, she managed the operations of development, marketing, community relations, and advocacy for the organization. From 2005 to 2012, Bonna served as the President and CEO of Catholic Charities of Greater Houston, an agency dedicated to providing social services to more than 90,000 people annually. There, she led the development of a strategic plan for geographic expansion, service to seniors, and housing development. From 2001-2005, she was the Executive Director of Mended Hearts in Dallas, the nation’s second largest support organization offering hope to heart patients, their families and caregivers. Bonna was born in Cambodia and was with her family visiting the United States right before the fall of Cambodia in 1975. She attended Texas A&M University and the University of Houston, earning a Bachelor’s of Science In Political Science, later receiving her MBA from Our Lady of the Lake University. Bonna is married to James Clifford and they have two daughters ages 12 and 10. 63

ANNE LEONARD, Curator & Associate Director of Academic Initiatives, Smart Museum of Art, University of Chicago; Governance & Nominating Committee Member Anne Leonard is Curator and Associate Director of Academic Initiatives at the Smart Museum of Art, University of Chicago, where she has worked since 2003. She oversees the pre-1900 European collection and has curated numerous exhibitions of European and American art, often in collaboration with University faculty and students. Her exhibition catalogues include Looking and Listening in NineteenthCentury France (co-edited with Martha Ward, 2008); The Tragic Muse: Art and Emotion, 1700–1900 (2011); and Awash in Color: French and Japanese Prints (coedited with Chelsea Foxwell, 2012). She also directs the Smart’s academic initiatives, an extension of the renowned Mellon Program that since the 1990s has integrated the Museum ever more closely into the academic mission of the University. In the courses she offers as Lecturer in the Department of Art History, she engages the resources of the Smart collection in order to provide students with hands-on exposure to original works of art. Her research has been published in the Art Bulletin and in several edited volumes, and in 2014 she co-edited The Routledge Companion to Music and Visual Culture. She holds a PhD in art history from Harvard University and has worked in curatorial departments at the Fogg Art Museum (Harvard Art Museums), the National Portrait Gallery, and the National Gallery of Art, Washington. MARY-KAY LOMBINO, The Emily Hargroves Fisher ‘57 and Richard B. Fisher Curator & Assistant Director, The Frances Lehman Loeb Art Center, Vassar College, Career Support Committee Co-Chair Mary-Kay Lombino is The Emily Hargroves Fisher ‘57 and Richard B. Fisher Curator and Assistant Director at The Frances Lehman Loeb Art Center, Vassar College, where she oversees the contemporary art and photography collections, exhibitions, and publications and provides leadership for long-range strategic planning. Prior to joining the staff at Vassar she served as Curator of Exhibitions at the University Art Museum, California State University, Long Beach for six years and Assistant Curator at UCLA Hammer Museum for five years. Her exhibitions include The Polaroid Years: Instant Photography and Experimentation (2013), Utopian Mirage: Social Metaphors in Contemporary Photography and Film (2007); Off the Shelf: New Forms in Contemporary Artists’ Books (2006); Candida Höfer: The Architecture of Absence (2005); UnNaturally (2003), By Hand: Pattern, Precision, and Repetition in Contemporary Drawing (2001). She has also organized solo shows for numerous artists including Marco Maggi, Eirik Johnson, Phil Collins, Ken Price, Euan Macdonald, Bob Knox, Alice Könitz, and Mungo Thomson. Lombino’s 2013 publication The Polaroid Years (DelMonico Books/Prestel) won first place for Outstanding Catalogue from the Association of Art Museum Curators. In 2009, she was selected as one of ten fellows for the Center for Curatorial Leadership program, designed to train and support talented curators in realizing their potential for leadership in the field. Also in 2009 she was one of two recipients of The

Andy Warhol Foundation for the Visual Arts Curatorial Research Fellowship. In 2006 she was one of ten recipients of the Getty Curatorial Research Fellowship. MICHAEL MANSFIELD, Curator, Film & Media Art, American Art Museum, Smithsonian Institution Michael Mansfield is a curator and scholar of the moving image in contemporary art. He studied photography and art history at the University of Houston and holds an MA in digital and electronic media from the Maryland Institute where he was a fellow with the Mount Royal School of Art. In 2007, he was appointed as an associate in the director’s office at the National Museum of Photography in the Czech Republic. Michael joined the Smithsonian Institution in 2008, organized the museum’s Media Art Working Group, and is a founding member of the Smithsonian Institution’s Time Based Media Art Conservation Initiative. In 2009, he established and designed the museum’s first permanent gallery space devoted to moving image installations, and has curated an ongoing series of exhibitions titled New Directions in the Art of the Moving Image. Michael stewards numerous graduate fellowships and research collections including the Nam June Paik archive and in 2012, together with John G. Hanhardt, co-curated the exhibition Nam June Paik: Global Visionary. Most recently, Michael curated Watch This! Revelations in Media Art, a major exhibition on the history of art and electronic media. JEN MERGEL, Robert L. Beal, Enid L. Beal, and Bruce A. Beal Senior Curator of Contemporary Art, Museum of Fine Arts, Boston; Board of Trustees, Professional Development Committee Co-Chair, Diversity Task Force Co-Leader Since appointed Senior Curator in 2010, Jen Mergel organized her team to present the inaugural installations and ongoing programming of the MFA’s Linde Family Wing for Contemporary Art. To that end, she pursues cultural partnerships locally, nationally, and internationally. Key exhibitions include: Felix Gonzalez-Torres (2011-2015), the 20th-anniversary loan presentation of all of the artist’s beaded curtains; Permission to be Global/Prácticas Globales (2013-14 with tour), the MFA’s first exhibition of contemporary art from Latin America; the survey Shinique Smith: BRIGHT MATTER (2014-15) including a 70-foot mural in downtown Boston; and Lee Mingwei: Sonic Blossom (2015), the first ongoing interactive performance art exhibition in the Museum’s history. Forthcoming will be solo exhibitions with Chilean painter Daniela Rivera (2017) and Japanese Pop master Tadanori Yokoo (2018). Previously at Boston’s Institute of Contemporary Art, Mergel was curator of numerous exhibitions including the survey Tara Donovan and Acting Out: Social Experiments in Video. Mergel graduated summa cum laude in Visual and Environmental Studies from Harvard University, received her MA from Bard’s Center for Curatorial Studies in Art and Contemporary Culture, and has taught at Harvard and Boston University. She has been invited to review art in Colombia, France, Lebanon, Mexico, Nigeria, and Taiwan, and is a proud native of Boston.

MITCHELL MERLING, Paul Mellon Curator & Head of the Department of European Art, Virginia Museum of Fine Arts Dr. Mitchell Merling, Paul Mellon Curator and Head of the Department of European Art, has been with the Virginia Museum of Fine Arts since 2005. He previously served as Curator of the Art Museum at the John and Mable Ringling Museum of Art and Curator of European Art at the Montreal Museum of Fine Arts. Before that, Merling held predoctoral and postdoctoral fellowships at the Center for Advanced Study in the Visual Arts at the National Gallery of Art. In 2013, he published a major section of the Francesco Guardi catalogue for the exhibition at the Museo Correr, Venice. In Fall 2014, he published Catching Sight: The World of the British Sporting Print and in 2015, he coauthored Working Among Flowers: French 19th-century Floral Still-Life Painting, catalog to VMFA’s exhibition: Van Gogh, Manet, Matisse: The Art of the Flower. At VMFA, Merling oversees the Mellon collections of French, British Sporting, and American art, as well as the general European collections from the Middle Ages to the late 19th century. In addition, he serves as the in-house curator of the Gans Collection of English Silver and is also supervising the acquisition of the Frank Raysor Collection of approximately 10,000 European and American prints.

AL MINER, Assistant Curator of Contemporary Art, Museum of Fine Arts, Boston Al Miner, Assistant Curator of Contemporary Art, joined the staff of the Museum of Fine Arts, Boston, in Fall 2010. There Miner has organized several exhibitions including Ori Gersht: History Repeating, the first survey exhibition of the Israeli photographer and video artist, for which Miner authored an awardwinning monograph, and Gonzalo Fuenmayor: Tropical Mythologies. His current project, Megacities Asia, is on view now. This group exhibition examines the way contemporary Asian artists respond to urbanization through large-scale sculpture and installation; the show is staged in numerous locations inside and outside of the MFA building and is accompanied by a catalogue. Prior to the MFA, Miner worked at the Hirshhorn Museum and Sculpture Garden, the Smithsonian Institution’s museum of Modern and Contemporary Art in Washington D.C. There Miner organized projects with Dan Graham and Yoko Ono, and served as coordinating curator for the first North American retrospective of the work of the German artist, Blinky Palermo. He has received fellowships from the Association of Art Museum Curators (AAMC), Goethe-Institut, the American Alliance of Museums (AAM), Artis foundation, the D.C. Commission on the Arts and Humanities, and the Smithsonian Institution, among other honors. Miner’s passion for the art and artists of our time stems in part from his own active practice as an artist.

KELLI MORGAN, Doctoral Candidate, W.E.B. Du Bois Department of Afro-American Studies, University of Massachusetts Amherst Originally from Detroit, MI, Kelli Morgan earned her BA in Africana Studies at Wayne State University in 2006. With profound interests in African American conceptualizations of self-image, Kelli is a doctoral candidate in the W.E.B. Du Bois Dept. of Afro-American Studies at the University of Massachusetts Amherst. As an analyst of visual imagery, she examines the ways in which people construct visual discourses, conceptualize images, and sometimes resist these discourses. Her interdisciplinary research concentrates on African American visual culture, linking Art History, Women’s Studies, African American History, and Museum Studies to analyze the complex ways that Black women artists visualize, represent, and re-appropriate images of minority women to challenge mainstream visual discourses concerning beauty and sexuality. Ms. Morgan is a very diligent scholar whose career is committed to creating stimulating and culturally sensitive educational opportunities for students and public audiences alike through innovative uses of minority-produced visual culture and the museum gallery. Ms. Morgan is a recent Ford Dissertation fellow and formerly the Andrew W. Mellon curatorial fellow in African American Art at the Birmingham Museum of Art. CHRISTINA NIELSEN, William & Lia Poorvu Curator of the Collection, Isabella Stewart Gardner Museum; Career Support Committee Member Christina Nielsen joined the Isabella Stewart Gardner Museum as the William and Lia Poorvu Curator of the Collection in April of 2014. As head of the museum’s Historical Collections Department (which includes Collections, Conservation, Archives, Digital, and Registration), Christina leads cross-departmental activities that will give different audiences broader access to the Museum’s extraordinary collections of fine art, rare books, and archival items. These include plans for future exhibitions; the production of a new Guidebook for visitors (Yale University Press, 2017); and a new museum website. Before moving to Boston, she was at the Art Institute of Chicago, where she curated several major exhibitions, including Late Roman and Early Byzantine Treasures from the British Museum; Caravaggio’s The Supper at Emmaus, and The Silk Road and Beyond: Travel, Trade, and Transformation. In 2013, she was elected by her peers to serve a two-year term as the President of the Curatorial Forum. Christina received her PhD in art history from the University of Chicago, and has published widely on ancient and medieval art, and on the history of collecting medieval art in 19th-20th century America. In addition to serving as a Fulbright Scholar in Germany, Christina has held research appointments and fellowships at the J. Paul Getty Museum, The Metropolitan Museum of Art, and The British Museum. She has taught art history courses at the University of Chicago, the University of California, Los Angeles, and the University of California, Santa Barbara. Additionally, she has served on the board of the International Center for Medieval Art, and has been on several committees for the Association of Art Museum Curators. 65

CHON A. NORIEGA, Professor, University of California, Los Angeles Chon A. Noriega is Professor in the UCLA Department of Film, Television, and Digital Media, Director of the UCLA Chicano Studies Research Center, and Adjunct Curator at the Los Angeles County Museum of Art. He has published on Latino art, media, and performance, and edits the A Ver: Revisioning Art History book series on individual US Latino artists. Noriega has curated or co-curated exhibitions in the US, Mexico, and France, including Asco and Friends: Urban Portraits (2014), L.A. Xicano (2011-12), Phantom Sightings: Art After the Chicano Movement (traveled 2008-10), Just Another Poster: Chicano Graphic Arts in California (traveled 200103), East of the River: Chicano Art Collectors Anonymous (2000), From the West: Chicano Narrative Photography (1995), and Revelaciones/Revelations: Hispanic Art of Evanescence (1993). In 2012-13, he helped develop the Andrew W. Mellon Undergraduate Curatorial Fellowship Program involving five comprehensive art museums. This program, which is now in its second year, provides specialized training in the curatorial field for students across the United States from diverse backgrounds. Noriega is currently completing a book-length study of artist Raphael Montañez Ortiz (b. 1934) and developing the exhibition Home—So Appealing, So Different with Mari Carmen Ramirez and Pilar Tompkins Rivas that will open at LACMA in summer 2017 and travel to the Museum of Fine Arts, Houston. VALERIE CASSEL OLIVER, Curator, Contemporary Arts Museum, Houston; Conference Committee Member Valerie Cassel Oliver is the senior curator at the Contemporary Arts Museum Houston. Prior to her tenure at CAMH she was director of the Visiting Artist Program at the School of the Art Institute of Chicago and a program specialist at the National Endowment for the Arts. In 2000, she was one of six curators selected to organize the Biennial for the Whitney Museum of American Art in New York. At the Contemporary Arts Museum Houston she has organized numerous exhibitions including Splat Boom Pow! The Influence of Cartoons in Contemporary Art (2003); the acclaimed Double Consciousness: Black Conceptual Art Since 1970 (2005); Black Light/White Noise: Sound and Light in Contemporary Art (2007); Cinema Remixed and Reloaded: Black Women Artists and the Moving Image with Dr. Andrea Barnwell Brownlee (2009); Hand+Made: The Performative Impulse in Art and Craft and a major retrospective on Benjamin Patterson entitled, Born in the State of Flux/us (both 2010); as well as the survey, Donald Moffett: The Extravagant Vein (2011). In 2012, she mounted the project, Radical Presence: Black Performance in Contemporary Art and in 2014, a major survey of drawings by Houston-based and internationally-recognized artist Trenton Doyle Hancock entitled, Trenton Doyle Hancock: Skin and Bones–20 Years of Drawing. Both exhibitions toured extensively. Most recently, Cassel Oliver mounted a survey of work by Jennie C. Jones entitled Compilation. Her forthcoming exhibition, Angel Otero: Everything and Nothing, is slated to open December 2016.

Cassel Oliver has lectured widely and published extensively. In 2007, she received a Getty Curatorial Research Fellowship for initial research for the exhibition on Benjamin Patterson and was a fellow at the Center for Curatorial Leadership in 2009. In 2011, she was awarded the prestigious David C. Driskell Award for her scholarly excellence and contribution to the field of African American art and culture. CARLOS ORTEGA, Curator of Collections, Museum of Latin American Art Carlos Ortega is an expert in creating meaningful educational experiences for the public. He has more than a decade of museum practice in Germany, the United Kingdom, Spain, and the United States. His multidisciplinary career encompasses the administration and direction of educational projects and team management for multiple international institutions such as the Vatican, NASA and Guggenheim Foundation to name a few. Carlos currently holds the Curator of Collections position at the Museum of Latin American Art (MOLAA) in Long Beach, CA. His most recent project was the acclaimed community exhibition Transformations. Carlos was the keynote speaker for The Basque Museum Association Conference (AMBA) in 2010. He is part of the Western Museums Association Program Committee and will participate on the Advisory Board of the California Networks of Collaboration initiated by the California Association of Museums and focusing on museum public engagement and accessibility. Carlos’ professional experience transcends the parameters of the traditional museum model. He is an advocate of the visitor experience, proposing avantgarde concepts that bring innovation, inspiration and education to new levels of public accessibility. Carlos received his MA from the University of Leicester in the United Kingdom and his BA from the University of the Basque Country in Spain.

MARINA PACINI, Chief Curator & Curator of American, Modern & Contemporary Art, Memphis Brooks Museum of Art; Board of Trustees; Professional Development Committee Member Marina Pacini is Chief Curator and Curator of American, Modern and Contemporary Art at the Memphis Brooks Museum of Art. Among the exhibitions she has curated at the Brooks are Photographs from the Memphis World, 1949-1964 (2008, with catalog), the Soul of a City: Memphis Collects African American Art (2012), and Marisol: Sculptures and Works on Paper (2014), accompanied by a catalog co-published by Yale University Press. She is currently working on Red Grooms: Traveling Correspondent (2016). Additionally, she serves on the board of the Association of Art Museum Curators and the UrbanArt Commission. MARISA J. PASCUCCI, Curator of Collections, Boca Raton Museum of Art; Professional Development Committee Member Marisa J. Pascucci enjoys a progressive career with renowned organizations. Presently she holds a leadership role at the Boca Raton Museum of Art as the Curator of Collections and is charged with overseeing the care and development of the permanent collection, assisting with the planning, organizing, and selecting the Museum’s diverse exhibitions, and with participating in the creation and implementation of relevant programming to the presentation of special exhibitions and the collection. Most recently she was the Associate Editor of The Art Economist – a critically informative international publication pertaining to the global contemporary art market – and adjunct faculty and career advisor at Palm Beach State College. Pascucci’s previous art museum experience includes serving as the Norton Museum of Art’s Smith Curator of American Art along with curatorial and educational roles held at the Everson Museum of Art; the Montgomery Museum of Fine Arts; MOCA, Cleveland; and the Cleveland Museum of Art. She received her undergraduate art history degree from American University and earned dual Masters degrees in art history and museum studies from the joint program between Case Western Reserve University and the Cleveland Museum of Art. Pascucci regularly contributes to museum publications and has co-written successful grants to the Museum Loan Network and the Art Alliance for Contemporary Glass. Additionally, she is a member of the Florida Chapter of ArtTable and serves on several committees – both the Palm Beach County and City of West Palm. JULIE N. PIEROTTI, Curator, Dixon Gallery & Gardens Julie Novarese Pierotti is Curator at the Dixon Gallery and Gardens in Memphis, Tennessee. A native of Memphis, she graduated from the University of Mississippi with a Bachelor’s degree in Art History and went on to receive an MA in the History of Art from Vanderbilt University. Since joining the staff of the Dixon in 2007, she has helped organize a number of exhibitions for the museum, including Regional Dialect: American Scene Paintings from the John and Susan Horseman Collection (2009), and its follow-up, Modern

Dialect: American Paintings from the John and Susan Horseman Collection (2012), in addition to Anything but Clear: the Studio Glass Movement, 1979-2009 (2010). Julie also manages the Dixon’s Mallory/Wurtzburger series, which highlights contemporary art in the Memphis area. Most recently, she organized the exhibition The Impressionist Revolution: Forty Years of French Art at the Dixon, which opened in April 2016. Julie’s forthcoming projects include an exhibition centered on the Chilean expatriate patron of the arts, Eugenia Errázuriz, scheduled to open at the Dixon in 2018. JUDITH PINEIRO, Executive Director, AAMC & AAMC Foundation Judith Pineiro joined the Association of Art Museum Curators (AAMC) & AAMC Foundation as Executive Director in January 2014. Prior, she was an External Affairs consultant for clients such as Art in General and Louise Blouin Media. Other positions Pineiro has held, in her over twenty years of experience in the visual arts sector, include Director at the Affordable Art Fair U.S.; Associate Development Director, Institutional Advancement at the Museum of Arts and Design; and Account Manager in the Museum Services Department at Christie’s. She began her career in the decorative arts field at galleries in New York and Los Angeles. Judith received a BA in Art History; a BA in Journalism/ Mass Media; a Certificate in Curatorial Studies; and an MA in Art History; all from Rutgers University. Judith also served as a visual arts re-grant panelist for two years with the Brooklyn Arts Council, and currently serves on ArtTable’s Professional Development and Membership Committees. THOMAS RHOADS, Interim Director, The Menil Collection Thomas Rhoads holds a Master’s degree in Arts Administration from New York University and a BA in Art History from Reed College in Portland, Oregon. A veteran museum administrator, Tom began his career as a program and financial officer in the Visual Arts Division of the New York State Council on the Arts, concentrating on contemporary visual arts organizations. In 1988 he moved to California to become the founding executive director of the Santa Monica Museum of Art. While there, he created the organizational structure for the Santa Monica museum, developed its programs and exhibitions, and presided over the move into its home at the Bergamot Station Arts Center. In 2000 Tom joined the J. Paul Getty Museum in Los Angeles as the Head of Administration and was the Associate Director of Administration from 2004 to 2012. During his tenure, he was responsible for the daily operations of the Getty, including formulating and implementing policies and procedures in budget, operations, personnel, and general management. Considering his extensive experience as a senior museum administrator, Tom was appointed Interim Director of The Menil Collection in December of 2015. In his current post, Tom oversees all aspects of the museum’s operations and development, preparing the institution for its next director. Upon the completion of his duties in Houston, Tom will return to his home in Los Angeles, California.

PAULA BRADSTREET RICHTER, Curator for Exhibition & Research, Peabody Essex Museum; Career Support Committee Member Paula Bradstreet Richter is Curator for Exhibitions and Research at the Peabody Essex Museum (PEM), Salem, Massachusetts. Since 2009, she has been a member of the Exhibitions, Research, and Publishing department, responsible for curatorial research and administrative support of the museum’s changing exhibition program, publications, and core activities within the curatorial departments. She has participated in exhibition planning teams at PEM for over 20 changing exhibitions and special projects including large-scale national and international traveling exhibitions, historic and contemporary art installations, collection gallery installations, and rotations. In 2015, she served as co-curator for the Ropes Mansion reinterpretation and reinstallation, an innovative project that enhanced visitor engagement with an historic house property and collections. Serving previously as PEM’s Curator of Textiles and Costumes, Richter organized exhibitions including Wedded Bliss, the Marriage of Art and Ceremony (2008) and Painted with Thread: the Art of American Embroidery (2001) and authored and edited the accompanying publications. She also served as coordinating curator for traveling exhibitions, including Rare Bird of Fashion: The Irreverent Iris Apfel (2009) and American Fancy: Exuberance in the Arts, 1790-1840 (2004), organized by the Milwaukee Art Museum. In association with PEM’s 2003 major museum expansion, she developed the American decorative arts gallery, Transforming Tradition: Arts of New England. A graduate of the University of New Hampshire, Richter writes and lectures on American textiles and fashion, and New England art and decorative arts. JOANNA MONTOYA ROBOTHAM, Curator of Modern & Contemporary Art, Tampa Museum of Art; Conference Committee Member Joanna Montoya Robotham is the Neubauer Family Foundation Assistant Curator at the Jewish Museum. She is the curator of Becoming Jewish: Warhol’s Liz and Marilyn and recently organized the exhibition Masterpieces & Curiosities: Nicole Eisenman’s Seder. In 2014 she worked with Jens Hoffmann on Other Primary Structures, a large-scale sculpture show that revisited the Jewish Museum’s seminal 1966 exhibition of minimalist art, Primary Structures: Younger American and British Sculptors. She was the curator of Dani Gal: As from Afar and coordinated the New York presentation of Jack Goldstein x 10,000 (2013). Robotham received her MA in Curatorial Studies from the Center for Curatorial Studies at Bard College and earned a BA in Art History and Political Science from the University of Washington. ALMA RUIZ, Senior Fellow in the Center for Management in the Creative Industries, Latin American Specialist, Sotheby’s Institute of Art & Claremont Graduate University Alma Ruiz is Senior Fellow in the Center for Management in the Creative Industries, Latin American Specialist, Sotheby’s Institute of Art and Claremont Graduate University. She was recently appointed curator of the 68

20 Bienal de Arte Paiz in Guatemala City, Guatemala, for June 2016. A former senior curator at The Museum of Contemporary Art (MOCA), Los Angeles, Ruiz has curated numerous exhibitions focusing on the postwar period in the United States, Italy, and Latin America, as well as on emerging artists. In addition to having served as a guest curator at the Fundación Jumex, Mexico City; the Center for Contemporary Art, Tel Aviv; the Art Museum of the Americas, Washington, D.C., and the Fowler Museum at UCLA, Los Angeles, she has acted as a juror for numerous biennials in Latin America, including the V Panama Biennial, the Tamayo Biennial in Mexico City, and the Second Exhibition of Central American Emerging Artists in San Jose, Costa Rica. Ruiz has also been a panelist for The Paul & Daisy Soros Fellowship for New Americans, Creative Capital Foundation in New York, and the U.S. Fund for Culture in Mexico City and is a member of the Advisory Committee for the Cisneros Fontanals Art Foundation in Miami. JENNIFER SCANLAN, Exhibitions & Curatorial Director, Oklahoma Contemporary; Professional Development Committee Co-Chair Jennifer Scanlan is the Exhibitions and Curatorial Director at Oklahoma Contemporary in Oklahoma City. From 2013 through 2015 she was a New Yorkbased independent curator focusing on contemporary art and design. Her exhibitions included Pathmakers: Women in Art, Craft and Design, Midcentury and Today at the Museum of Arts and Design in New York City and the National Museum of Women in the Arts in Washington, D.C., Made for You: New Directions in Contemporary Design at the Samuel Dorsky Museum of Art at SUNY New Paltz, and Back to Eden: Contemporary Artists Wander the Garden at the Museum of Biblical Art in New York. Prior to working independently, for twelve years, she was Associate Curator at the Museum of Arts and Design, where she organized a number of exhibitions, including Crafting Modernism: Midcentury American Art and Design. Scanlan has lectured internationally, including at the 2010 Conference of the International Committee of Design History and Design Studies in Brussels, Belgium; Taiwan Craft Research and Development Institute in Taichung, Taiwan; the 2007 Adornment Magazine conference at the Fashion Institute of Technology, New York; and the 2005 Glass Art Society Conference in Adelaide, Australia. She has taught at Courtauld Institute of Art Summer School in London, England, and at Parsons School of Design.

She has a BA in Art History and Italian from Vassar College, Poughkeepsie, New York, and an MA in the History of Decorative Arts, Design, and Culture from the Bard Graduate Center, New York, New York. PETER J. SCHERTZ, Jack & Mary Ann Frable Curator of Ancient Art, Virginia Museum of Fine Arts; Finance & Audit Committee & Fundraising Initiatives Member Dr. Peter Justin Moon Schertz has served as curator of Ancient Art since October 2006 and the Jack and Mary Ann Frable Curator of Ancient Art since 2007. He received a PhD in classical art and archaeology in 2004 from the University of Southern California and his BA in classical languages and literature from the University of Chicago in 1987. His specialty is Roman art, with a focus on the intersection of art and culture, particularly art and religion. He is particularly interested in how new technologies can help us understand and interpret ancient art and how to use technology to engage new audiences with museum collections. His current projects include a study of the original polychromy of the Arch of Titus and an examination of the Second Temple in Jerusalem in its Roman context. He is currently working on an exhibition of Egyptian funerary art to open in early 2018. BLAKE SHELL, The Robert & Mercedes Eichholz Director & Curator, The Art Gym & Belluschi Pavilion, Marylhurst University Blake Shell is The Robert and Mercedes Eichholz Director and Curator of The Art Gym and Belluschi Pavilion at Marylhurst University, providing the artistic direction and leadership of the organization. Shell is a contemporary art curator and artist with over twelve years of experience in directing nonprofit and educational galleries. She received a BA in art from the University of the South in Sewanee, Tennessee, and an MFA in photography from Savannah College of Art and Design. Her curatorial work has gained regional attention and press in the Pacific Northwest, as well as a national review on Artforum.com’s Critic’s Picks. Shell is currently a panelist for the Visual Chronicle of Portland, managed by Regional Arts & Culture Council. ANNE COLLINS SMITH, Curator of Collections, Spelman College Museum of Fine Art Anne Collins Smith is the Curator of Collections at the Spelman College Museum of Fine Art. She is a cultural curator, art historian, and cultural worker in the literary, visual, and performing arts. Smith received a BA in English and Art History from Spelman College and an MA in Visual Arts Administration at New York University. She served as an intern at the Cinque Gallery, which was founded by artists Romare Bearden, Ernest Crichlow, and Norman Lewis, and the Romare Bearden Fellow at the Saint Louis Art Museum. Smith was the Andrew W. Mellon Curatorial Fellow at the Davis Museum and Cultural Center at Wellesley College where she began to fuse interdisciplinarity with her curatorial practice. At the Davis, she curated the exhibition The Space Between: Artists Engaging Race and Syncretism. Smith’s interests include: arts, the economy, and social uplift; arts leadership; audience development; cosmopolitanism; the evolving role of the curator; material culture; public

art; visual culture; and African Diasporic continuity in artistic and cultural practices. Smith participated in the Art Leaders of Metro Atlanta; Independent Curators International’s Curatorial Intensive; Getty Leadership Institute’s Museum Leaders: The Next Generation; and Association of Art Museum Curator’s Mentorship Program. Smith recently organized Maren Hassinger . . . Dreaming (2015) and Howardena Pindell (2015). She is currently participating in the Burnaway Art Writers Mentorship Program. Her curatorial projects in progress include Eye Ten (I10), Real Good Hands, and Always a Pleasure.

JERRY N. SMITH, Hazel & William Hough Chief Curator, Museum of Fine Arts, St. Petersburg, Florida; Career Support Committee Member Jerry N. Smith is the newly appointed Hazel and William Hough Chief Curator at the Museum of Fine Arts, St. Petersburg, having begun in October 2015. Prior to his appointment in Florida, he spent a decade at Phoenix Art Museum where he served as Curator of American and European Art to 1950 and Art of the American West. In ten years, he worked on and helped organize 40 exhibitions that included institutional collaborations, hosting traveling and creating collection-based exhibitions, as well as working closely with artists on an annual invitational. Exhibitions have been diverse, featuring artists who range from Leonardo da Vinci to Paul Cézanne to Andy Warhol. He was a contributing organizer and catalogue essayist for In Contemporary Rhythm: The Art of Ernest L. Blumenschein, and Cézanne and American Modernism. Jerry authored Howard Post: Western Perspectives, and is catalog co-author and organizer of Don Coen: The Migrant Series, an exhibition currently traveling. Jerry received his bachelor’s and master’s degrees in art history from Arizona State University and a PhD in the history of art from the University of Kansas.

AUNTANESHIA STAVELOZ, Supervisory Program Manager, Office of Community & Constituent Services, Smithsonian Institution; National Museum of African American History & Culture, Vice President, Association of African American Museums Ms. Staveloz boasts a 20-year professional career in global collaboration and strategic partnership development, including an extensive background in working with organizations on training/professional development around issues of capacity building, government relations, equity, diversity, and inclusive museum practice. Her professional experience has been with national, regional and state museum service organizations, museums of all types, government agencies national and international, K-12 education and academia. STACI STEINBERGER, Assistant Curator, Decorative Arts & Design, Los Angeles County Museum of Art Staci Steinberger is the Assistant Curator for Decorative Arts and Design at the Los Angeles County Museum of Art, where she played a key role in organizing the exhibitions California Design, 1930-1965: Living in a Modern Way (2011-2012) and The Presence of the Past: Peter Zumthor Reconsiders LACMA (2013), as well as curated Jack Stauffacher: Typographic Experiments (2013) and Vitality of New Forms: Designs by Alvin Lustig and Elaine Lustig Cohen (2015-present). A scholar of modern design with an emphasis on graphics and posters, she contributed to the exhibition catalogue for California Design (2011) as well as A Handbook of California Design (2013) and To Live and Dine in L.A.: Menus and the Making of the Modern City (2015). Since 2013, she has served as the project lead for LACMA’s interdepartmental initiative to collect graphic design. She is currently co-curating an exhibition on design and architecture connections between California and Mexico. CINDI STRAUSS, Assistant Director, Programming & Curator, Modern & Contemporary Decorative Arts & Design, Museum of Fine Arts, Houston Cindi Strauss is Assistant Director, Programming & Curator for Modern & Contemporary Decorative Arts & Design at the Museum of Fine Arts, Houston. She received her BA with honors in art history from Hamilton College and her MA in the history of decorative arts from the Cooper Hewitt/Parsons School of Design. At the MFAH, Strauss is responsible for the acquisition, research, publication, and exhibition of post-1900 decorative arts, design, and craft, and serves on the leadership team planning the museum’s campus expansion to be completed in 2019. Strauss has organized over twenty exhibitions related to her field. Recent exhibitions with publications at the MFAH include Beyond Craft: Decorative Arts from the Leatrice S. and Melvin B. Eagle Collection (2014); Shifting Paradigms in Contemporary Ceramics: The Garth Clark and Mark Del Vecchio Collection (2012); and Ornament as Art: Avant-Garde Jewelry from the Helen Williams Drutt Collection (2007). Of late, Strauss has contributed essays to exhibition catalogues including Leap Before You Look: Black Mountain College 1933-1957; Francesca DiMattio; and O Pioneers! Women Ceramic Artists 1925-1960. 70

KELLEY TIALIOU, Charles H. Sawyer Curatorial Assistant, Librarian, Archivist, Addison Gallery of American Art As the Charles H. Sawyer Curatorial Assistant at the Addison Gallery of American Art, Kelley Tialiou has organized the exhibition In Tandem: Inspirations and Collaborations (2015), as well as co-curated LIGHT/ DARK, WHITE/BLACK (2015) and Pop! Selections from the Collection (2014), all from the Addison’s permanent collection. She supports the Addison’s Edward E. Elson Artist-in-Residence program, in the context of which she has worked closely with visiting artists and contributed to the exhibitions Words in Air: Jennifer Caine and Rachel Hellmann in Collaboration and Street Talk: Chris Daze Ellis in Dialogue with the Collection. In addition to a range of research, collection documentation, and interpretive projects, Tialiou coteaches the Phillips Academy practicum course Visual Culture: Discovering the Addison Collection and has served as project curator for the student-developed exhibitions In Calm Waters, On Stormy Seas (2015) and Toward Resolution: Artists’ Studies from the Collection (2014). Tialiou launched her museum career as an intern at the Peggy Guggenheim Collection; prior to joining the staff of the Addison in 2013, she held the Eleanor P. DeLorme Fellowship and subsequently a curatorial position at the Davis Museum at Wellesley College, where she earned her AB magna cum laude in Art History and was elected to Phi Beta Kappa. Her writing has appeared on the award-winning digital platform The Culture Trip, the literary review Paremvasi, and the academic journal Kunstlicht. GARY TINTEROW, Director, Museum of Fine Arts, Houston; Trustee Emeritus; Past President Gary Tinterow became director of the Museum of Fine Arts, Houston, in 2012 following a distinguished, three-decade curatorial career at The Metropolitan Museum of Art in New York. A leading figure in the museum field, Tinterow has organized dozens of acclaimed exhibitions around the world and authored significant companion publications, primarily in the areas of contemporary art and 19th-century European painting. At the Museum of Fine Arts, Houston, Tinterow has expanded the Museum’s international initiatives through key curatorial and conservation appointments and collaborations with, among other institutions, the al-Sabah Collection, Kuwait; British Museum, London; Museo Nacional del Prado, Madrid; and Réunion des musées nationaux and Centre Pompidou, Paris. He has also enhanced the Museum’s role in the greater Houston community through newly developed relationships with Rice University, the University of Houston, and the MD Anderson Cancer Center. Under Tinterow’s direction, over the past 4 years the Museum has restored much of its Mies van der Rohedesigned Caroline Wiess Law Building with projects that have included a reconfigured installation space in the 24,000-square-foot span of that building’s Upper Brown Pavilion. Tinterow is currently embarking on a campus redevelopment project with Steven Holl Architects. The initiative will, among other features, create significant new buildings for the Museum’s art school

and for the display of 20th- and 21st-century art, and unify the Museum’s 14-acre property as a pedestrianfriendly campus. It will also provide for a new Center for Conservation. A native Houstonian, Tinterow received his undergraduate degree from Brandeis University and studied art history and museum studies at Harvard University, where he organized a groundbreaking exhibition of Pablo Picasso’s drawings. From 1983 through 2011, Tinterow’s curatorial projects at the Metropolitan ranged from major exhibitions of Impressionist and 19th-century painting to collaborations with contemporary artists including Cai Guo-Qiang, Anthony Caro, Jasper Johns, Jeff Koons, Tony Oursler, Roxy Paine, Robert Rauschenberg, Richard Serra, and Kara Walker. During his tenure he was also responsible for the reconfiguration and expansion of the Metropolitan’s galleries for 19th-century European painting and sculpture (1993 and 2007) and reinstallation of the Lila Acheson Wallace Wing for Modern Art. He purchased dozens of 19th- and 20th-century works of art, totaling more than $100 million, and was instrumental in negotiating the gift of the Walter H. and Leonore Annenberg Collection (1992) and the Leonard A. Lauder Collection (2013). He conceived the Metropolitan’s expansion into the Whitney Museum of American Art’s Breuer building, opening in March 2016. For his service to French culture, Tinterow was made an Officier of the Ordre des Arts et Lettres and a Chevalier of the Légion d’honneur. OLIVER TOSTMANN, Susan Morse Hilles Curator of European Art, Wadsworth Atheneum Oliver Tostmann is the Susan Morse Hilles Curator of European Art at the Wadsworth Atheneum in Hartford since Fall 2013. Previously, he was the curator of the collection at the Isabella Stewart Gardner Museum in Boston and the Andrew W. Mellon Fellow in the Department of Italian Paintings at the National Gallery in Washington, DC. He has organized several exhibitions at the Gardner Museum, including Anders Zorn: A European Seduces America (2013), Donatello, Michelangelo, Cellini. Sculptors’ Drawings from Renaissance Italy (2014; with Michael Cole), and Ornament & Illusion. Carlo Crivelli of Venice (2015; with Stephen Campbell and Nathaniel Silver). Tostmann was co-curator of the recent re-installation of European art at the Wadsworth Atheneum. He studied at the Freie Universität in Berlin, Paris I in Paris, and Scuola Normale Superiore in Pisa.

extraction and circulation of natural resources in the context of climate change; participating artists include Mary Mattingly, Claire Pentecost and Marina Zurkow. At USFCAM, Voeller also develops interdisciplinary educational programs. These include The Art of Attending, a series of arts-based observation training workshops for students in healthcare professions. Since 2006, Voeller has written more than 250 exhibition reviews and feature stories for Creative Loafing as the Tampa Bay-based weekly newspaper’s visual art critic. Her criticism has been recognized with awards from the Society of Professional Journalists and the Tampa Bay Association of Black Journalists. She co-hosts WEDU Arts Plus, a public television program produced by PBS affiliate WEDU, and creates documentary segments as a freelance producer. Voeller holds a BA in studio art from Williams College, an MA in media studies from the New School, and an MA in art history from the University of South Florida. DARREN WALKER, President, Ford Foundation Darren Walker is President of the Ford Foundation, the nation’s second largest philanthropy. For two decades he has been a leader in the nonprofit and philanthropic sectors, working on an array of social justice issues, including education, human rights, urban development, and free expression. Prior to joining Ford, he was Vice President at the Rockefeller Foundation. He had a decade-long career in international law and finance at Cleary Gottlieb Steen & Hamilton and UBS. As COO of Harlem’s leading community development organization, the Abyssinian Development Corporation, Darren oversaw development of over 1,000 new units of low-income housing and Harlem’s first commercial development in twenty years, among other achievements. He is a member of the boards of Carnegie Hall, New York City Ballet, the High Line, and the Arcus Foundation. Darren received the “Distinguished Alumnus Award,” the highest honor given by his alma mater, the University of Texas at Austin. He is a member of the Council on Foreign Relations, the American Academy of Arts and Sciences and the recipient of several honorary degrees.

MEGAN VOELLER, Associate Curator, University of South Florida Contemporary Art Museum Megan Voeller is a curator, museum educator, and art critic. As Associate Curator at the University of South Florida Contemporary Art Museum, Voeller has organized exhibitions including A Family Affair (2015), which featured commissioned projects by Kalup Linzy and Corine Vermeulen, as well as works by Renee Cox, LaToya Ruby Frazier, Jacolby Satterwhite, Hank Willis Thomas, and Deborah Willis; and Making Sense: Rochelle Feinstein, Deborah Grant, Iva Gueorguieva, Dona Nelson (2014) co-curated with USFCAM director Margaret Miller. She is currently organizing Extracted (2016), a thematic group exhibition that explores the 71

MICHAEL WELLEN, Assistant Curator of Latin American & Latino Art, Museum of Fine Arts, Houston Michael Wellen is the Assistant Curator of Latin American and Latino Art at the Museum of Fine Arts, Houston (MFAH). He is currently preparing an exhibition investigating the influence of cinema on contemporary art from Latin America. Before coming to Houston, he worked at the Smithsonian, El Museo del Barrio, and the Blanton Museum of Art. He has written for national and international arts publications, including Art Nexus, Art Papers, ReVista: Harvard Review of Latin America, and the Journal of Surrealism in the Americas, as well as for numerous exhibition catalogues, including most recently Contingent Beauty: Contemporary Art from Latin America (2015). In 2012, he earned his doctoral degree from the University of Texas at Austin, where from 2007-2011 he was the recipient of a Jacob K. Javits Fellowship, awarded by the U.S. Department of Education for graduate students whose research or artistic projects show promise for their respective fields. His dissertation, Pan-American Dreams: Art, Politics, and Museum-Making at the OAS, 1948-1976, analyzes the first Latin American art exhibitions organized in Washington, D.C. during the Cold War. MICHELLE JOAN WILKINSON, Museum Curator, Smithsonian National Museum of African American History & Culture; Diversity Task Force Member, Membership Committee Member Michelle Joan Wilkinson, PhD is a curator at the Smithsonian National Museum of African American History and Culture (NMAAHC). Wilkinson’s research interests range from African American and African Diaspora studies to global architecture and design. At NMAAHC, she works on projects related to contemporary black life. Wilkinson is also developing the museum’s collections in architecture and design. Wilkinson’s career includes work on exhibitions, publications, and public programs for The Studio Museum in Harlem, the Smithsonian American Art Museum, and the National Gallery of Art. From 2007-2014, Wilkinson was Director of Collections and Exhibitions at the Reginald F. Lewis Museum

of Maryland African American History & Culture. In that capacity, she curated over twenty exhibitions, including two award-winning shows—Material Girls: Contemporary Black Women Artists and For Whom It Stands: The Flag and the American People. In 2012, Wilkinson was named a fellow of the Center for Curatorial Leadership; she completed a residency at the Design Museum in London as part of her fellowship. She has received awards from the Center for Puerto Rican Studies at Hunter College, the Center for Advanced Study in the Visual Arts (CASVA), and the Paul Mellon Centre for Studies in British Art. Wilkinson holds a BA from Bryn Mawr College and a PhD from Emory University. An active mentor in the museum field, she has initiated and participated in professional development programs for the Association of African American Museums and the Association of Art Museum Curators, where she serves on the Diversity Task Force. ELIZABETH A. WILLIAMS, David & Peggy Rockefeller Curator of Decorative Arts & Design, Museum of Art, Rhode Island School of Design; Career Support Committee Member Elizabeth Williams joined the RISD Museum in 2013 after serving as assistant curator of Decorative Arts and Design at the Los Angeles County Museum of Art and The Nelson-Atkins Museum of Art, Kansas City, Missouri. She holds a PhD in Art History from the Kress Foundation Department of Art History at the University of Kansas, an MA degree in Art History and a BS degree in Architectural Studies from the University of Missouri. At the RISD Museum, she has co-curated Making It in America and Arlene Shechet: Meissen Recast, reinstalled the glass, porcelain and ceramics galleries, and is currently developing an exhibition on the Gorham Manufacturing Company. At LACMA, she was the editor of and contributing author to Daily Pleasures: French Ceramics from the MaryLou Boone Collection, as well as the exhibition curator, and the author of The Gilbert Collection at LACMA. Williams is a Board member of the American Ceramic Circle and serves as the Grants and Scholarship Chair.

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