AAMC & AAMC Foundation 2017 Annual Conference & Meeting Catalog

2017

NEW YORK

ASSOCIATION OF ART MUSEUM CURATORS & AAMC FOUNDATION 16 TH ANNUAL CONFERENCE & MEETING

MAY 6 – 9, 2017 #AAMCNYC

CONTENT S

PRESIDENT ’ S WELCOME

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EXECUTIVE DIREC TOR ’ S LE T TER

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A A MC & A A MC FOUNDATION LE ADERSHIP

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PROG R A MS

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FELLOWSHIP S

21

AWARDS FOR EXCELLENCE

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A A MC FOUNDATION SUPP ORTERS

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A A MC FOUNDATION CIRCLE DONORS

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A A MC FOUNDATION ANNUAL FUND DONORS

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A A MC INS TITUTIONAL MEMBERS

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CONFERENCE SP ONSORS & SUPP ORTERS

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KE YNOTE DIALOGUE PRESENTERS

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SCHEDULE IN BRIEF

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ROUNDTABLES

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COMMIT TEE & TA SK FORCE OPEN FORUMS &

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CUR ATOR-LED TOURS CONFERENCE SESSION DE TAIL S

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WEEKEND AC TIVIT Y DE TAIL S

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SPE AKER , PANELIS T & PRESENTER BIOG R APHIES

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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.

Photo credits: Meredith Dean, Lynn Lane, Lucy Lydon, and Judith Pineiro Design: Tomoko Takahashi / Studio TOTA

PRESIDENT ’ S WELCOME

In one of my last official acts as President of the Association of Art Museum Curators (AAMC) and AAMC Foundation, I am delighted to welcome you to New York City for our Annual Conference & Meeting.

It is a pleasure to have you here with AAMC curators from museums and art organizations of all sizes, and independent ones as well, to join in working toward the best possible ways we, as curators, can serve the future of the arts. We look forward to your engagement in energizing discussions on how we can make museums and art organizations relevant to our increasingly diverse audiences by engaging the public successfully in all aspects of art. How we can help our audiences understand the artists and their goals. How we can relate art to past and present larger cultural issues.

How we can use art to help our audiences understand multiple cultures that differ from their own.

We know that the AAMC does this best by encouraging our broad-based membership to attend our Annual Conference, regional In-Conversations, and our additional growing programming; to actively participate in committees and juries, and to join the board so that all types of curators and art institutions in all parts of the world can offer their perspective on issues. With sufficient diverse input, we will continue to be the voice of the curatorial profession—leading in innovating ways to make all art relevant to our audiences.

Our Conference here in New York advances these efforts. Our keynote addresses will be dialogues between Monica Montgomery, Founding Director & Curator, Museum of Impact, and Tanya Odom, Global Diversity & Inclusion & Education Consultant on Monday, May 8, at The Metropolitan Museum of

Art. Hank Willis Thomas, Artist, and Deborah Willis, Professor & Chair of the Department of Photography & Imaging, Tisch School of the Arts at New York University will talk together on Tuesday, May 9, at the Brooklyn Museum.

We hope you will all visit our Conference’s host institutions, representing the varied arts organizations within the city, and study their approaches to involving the public with art. Beyond The Met and Brooklyn, the extensive roster of organizations welcoming us includes: the Cooper Hewitt, Smithsonian Design Museum; the International Center of Photography at ICP Museum; The Laundromat Project’s Kelly Street Collaborative; the Morris-Jumel Mansion; the Museum of Chinese in America; the Museum of the City of New York; the Mount Vernon Hotel Museum & Garden; the New York Historical Society; The Isamu Noguchi Foundation and Garden Museum; the Socrates Sculpture Park & Mark di Suvero Studio; The Studio Museum in Harlem’s inHarlem; and the Whitney Museum of American Art. Please join me in thanking our lead corporate sponsor, Sotheby’s, our impressive conference committee, inspiring staff led by Judith Pineiro, our Executive Director, and all the institutions whose efforts and support have made this Annual Conference possible.

Also, please join me in welcoming my successor Christa Clarke as President. Do take this opportunity to meet her and talk about your needs and ideas.

Having an expert on all eras of African Art follow a Byzantinist is evidence indeed that AAMC’s interests reach across time and around the globe.

Welcome to New York!

HELEN C. EVANS

Mary & Michael Jaharis Curator for Byzantine Art, The Metropolitan Museum of Art President, AAMC & AAMC Foundation, Board of Trustees 2

EXECUTIVE DIREC TOR’ S LET TER

Since joining the Association of Art Museum Curators (AAMC) and AAMC Foundation as its Executive Director in 2014, I have seen the organization address changing demands on the profession, open access to more colleagues, and advocate for challenging conversations. By embracing new dialogues and being more inclusive, we stand to strengthen the organization, the profession, and our communities at large, which is why I am proud that AAMC has become a far-reaching community network of over 1,300 curators in 14 countries and at over 400 institutions.

In bringing together a range of experiences, we expand the organization’s ability to grow in our efforts and impact.

Throughout everything that AAMC & AAMC Foundation does, we welcome many voices from countless fields, organizations, backgrounds, and viewpoints, which enables us to move forward in a fundamental and meaningful manner. By bringing issues of access and inclusion forward, through those inside and outside the profession, we are continuing our efforts to ensure we offer examples of new ways of thinking and managing ongoing issues, provide tangible solutions, and open avenues of approach, which we hope will result in transformative outcomes.

Since we last met in May 2016, we have advanced new initiatives and continued successful ones. This has included: broadening our reach across borders

with the AAMC Foundation Engagement Program for International Curators and the Samuel H. Kress/AAMC Fellowship at the American Academy in Rome; tackling important museum community issues through a curatorial lens with the AAMC Foundation-organized regional In-Conversation series open to members and non-members, increasing regionally based networking opportunities; advancing our collaborative efforts through the AAMC & NCAC Workshop: Handling Controversy, and by joining the American Alliance of Museums’ Council of Affiliates; adding new programming to our webinar series with one-on-one dialogues and additional professional development topic sessions; welcoming more curators than ever to our Annual Conference & Meeting by presenting topics and discussion formats that were timely and fostered new access points; promoting expertise and best practices through our Mentorship Program; and launching a new digital three-day intensive workshop for curators, The Networked Curator.

In the past few years, our activities and outreach have grown exponentially with great successes. In order to meet our continuing goals, the AAMC & AAMC Foundation are strengthening alliances, building our capacity to serve, expanding funding outlets, and furthering services for our members and nonmembers. Together, we have accomplished so much, and together, we will achieve much more.

JUDITH PINEIRO

Executive Director, AAMC & AAMC Foundation

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2016 – 2017 A A MC & A A MC FOUNDATION LE ADERSHIP 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 E XECUTIVE COMMIT TEE GRAHAM C. BOETTCHER, Deputy Director & The William Cary Hulsey Curator of American Art, Birmingham Museum of Art; Vice President, Finance HELEN C. EVANS, Mary & Michael Jaharis Curator of Byzantine Art, The Metropolitan Museum of Art; President CATHERINE L. FUTTER, Director of Curatorial Affairs, The Nelson-Atkins Museum of Art; Vice President, Communications JEN MERGEL, Robert L. Beal, Enid L. Beal & Bruce A. Beal Senior Curator of Contemporary Art, Museum of Fine Arts, Boston (until April 7) & Independent Curator; Vice President, Programs GEORGIANA UHLYARIK, Associate Curator, Canadian Art, Art Gallery of Ontario; Vice President, Governance & Nomination

TRUS TEES AT-L ARG E PAOLA ANTONELLI, Senior Curator in the Department of Architecture & Design & Director, Research & Development, The Museum of Modern Art SHARON MATT ATKINS, Director of Curatorial Affairs, Brooklyn Museum; Conference Committee Co-Chair JULIAN COX, Chief Curator & Founding Curator of Photography, Fine Arts Museums of San Francisco SANDRA Q. FIRMIN, Director & Chief Curator, Colorado University Art Museum MADHUVANTI GHOSE, Alsdorf Associate Curator of Indian, Southeast Asian, Himalayan & Islamic Art, Department of Asian Art, Art Institute of Chicago; Professional Development Committee ALISON DE LIMA GREENE, Isabel Brown Wilson Curator, Department of Modern & Contemporary Art, Museum of Fine Arts, Houston; Conference Committee Co-Chair MICHELLE HARGRAVE, Deputy Director, New Britain Museum of American Art; 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 MICHELLE JACQUES, Chief Curator, Art Gallery of Greater Victoria; Career Support Committee Co-Chair C. GRIFFITH MANN, Michel David-Weill Curator in Charge, Department of Medieval Art & The Cloisters, The Metropolitan Museum of Art MARINA PACINI, Chief Curator & Curator of American, Modern & Contemporary Art, Memphis Brooks Museum of Art CAROLYN M. PUTNEY, Chief Curator, Curator of Asian Art (Retired, February 2015), Consulting Curator, Toledo Museum of Art PETER SCHERTZ, Jack & Mary Ann Frable Curator of Ancient Art, Virginia Museum of Fine Arts; Finance, Fundraising and Audit Committee ELIZABETH SMITH, Executive Director, Helen Frankenthaler Foundation; Finance, Fundraising & Audit Committee Co-Chair ANN YONEMURA, Senior Associate Curator of Japanese Art, Freer Gallery of Art & Arthur M. Sackler Gallery, Smithsonian Institution; Governance & Nominating Committee

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EMERITI & E X OFFICIO TRUS TEES ELIZABETH W. EASTON, Co-Founder & Director, Center for Curatorial Leadership; Past President, Trustee Emerita, Ex Officio CAROL S. ELIEL, Curator of Modern Art, Los Angeles County Museum of Art; Past President, Trustee Emerita, Ex Officio JOHN B. KOEGEL, Founder & Lawyer, The Koegel Group LLP; Ex Officio EMILY BALLEW NEFF, Executive Director, Memphis Brooks Museum of Art; Past President, Trustee Emerita, Ex Officio JUDITH PINEIRO, Executive Director, AAMC & AAMC Foundation; Ex Officio JOHN RAVENAL, Executive Director, deCordova Sculpture Park & Museum; Past President, Trustee Emeritus, Ex Officio GEORGE T.M. SHACKELFORD, Deputy Director, Kimbell Art Museum; Past President, Trustee Emeritus, Ex Officio

COMMIT TEES AWARDS FOR E XCELLENCE COMMIT TEE MATTHEW AFFRON, Curator of Modern Art, Philadelphia Museum of Art KRISTEN COLLINS, Curator of Manuscripts, J. Paul Getty Museum AIMEE MARCEREAU DEGALAN, Louis L. & Adelaide C. Ward Senior Curator of European Arts, The Nelson-Atkins Museum of Art DANIEL FINAMORE, Russell W. Knight Curator of Maritime Art, Peabody Essex Museum SANDRA Q. FIRMIN, Director & Chief Curator, Colorado University Art Museum; Board of Trustees VIVIEN GREENE, Senior Curator, 19th & Early 20th-Century Art, Solomon R. Guggenheim Museum ERIKA HOLMQUIST-WALL, Curator of Paintings & Sculpture, The Speed Art Museum DENISE MURRELL, Postdoctoral Research Scholar, Wallach Art Gallery, Columbia University JENNIFER KOMAR OLIVAREZ, Head of Exhibition Planning and Strategy and Interim Curator, Purcell-Cutts House, Minneapolis Institute of Arts; Awards for Excellence Committee Chair ANNEMARIE SAWKINS, Independent Curator ELIZABETH SEMMELHACK, Senior Curator, The Bata Shoe Museum JONATHAN STUHLMAN, Senior Curator of American, Modern & Contemporary Art, The Mint Museum NAMITA GUPTA WIGGERS, Independent Curator, Writer, & Director, Critical Craft Forum

C AREER SUPP OR T COMMIT TEE DANIEL BELASCO, Executive Director, Al Held Foundation ROBIN CLARK, Director, The Artist Initiative, San Francisco Museum of Modern Art LISA DORIN, Deputy Director for Curatorial Affairs & Curator of Contemporary Art, Williams College Museum of Art PAUL HA, Director, MIT List Visual Arts Center MICHELLE JACQUES, Chief Curator, Art Gallery of Greater Victoria; Board of Trustees; Career Support Committee Co-Chair 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 JEN MERGEL, Robert L. Beal, Enid L. Beal & Bruce A. Beal Senior Curator of Contemporary Art, Museum of Fine Arts, Boston (until April 7) & Independent Curator; Vice President, Programs, Board of Trustees; Executive Committee Representative; Inclusion & Access Task Force Co-Leader KELLI MORGAN, Winston & Carolyn Lowe Curatorial Fellow, Pennsylvania Academy of the Fine Arts CHRISTINA NIELSEN, Curator of the Collection, Isabella Stewart Gardner Museum TANYA PAUL, Isabel & Alfred Bader Curator of European Art, Milwaukee Art Museum PAULA RICHTER, Curator of Exhibitions & Research, Peabody Essex Museum KLAUDIO RODRIGUEZ, Curator, The Patricia & Phillip Frost Art Museum, Florida International University LISA ROTONDO-MCCORD, Assistant Director of Art & Curator of Asian Art, New Orleans Museum of Art ANNE COLLINS SMITH, Curator of Collections, Spelman College Museum of Art 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

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2016 – 2017 A A MC & A A MC FOUNDATION LE ADERSHIP CONT ’D

CONFERENCE COMMIT TEE SHARON MATT ATKINS, Director of Curatorial Affairs, Brooklyn Museum; Board of Trustees; Conference Committee Co-Chair CHRISTINA CHANG, Independent Curator MALCOLM DANIEL, Gus & Lyndall Wortham Curator of Photography, Museum of Fine Arts, Houston XANDRA EDEN, Executive Director & Chief Curator, DiverseWorks TULIZA FLEMING, Museum Curator, National Museum of African American History & Culture, Smithsonian Institution HILLIARD TODD GOLDFARB, Senior Curator, Collections, Curator of Old Masters, Montreal Museum of Fine Arts ALISON DE LIMA GREENE, Isabel Brown Wilson Curator, The Museum of Fine Arts, Houston; Board of Trustees; Conference Committee Co-Chair COREY KELLER, Curator of Photography, San Francisco Museum of Art MARIANNE LAMONACA, Associate Director & Chief Curator, Bard Graduate Center Gallery JEN MERGEL, Robert L. Beal, Enid L. Beal & Bruce A. Beal Senior Curator of Contemporary Art, Museum of Fine Arts, Boston (until April 7) & Independent Curator; Vice President, Programs, Board of Trustees; Executive Committee Representative; Inclusion & Access Task Force Co-Leader NICOLE MYERS, The Lillian & James H. Clark Curator of European Painting & Sculpture, Dallas Museum of Art VALERIE CASSEL OLIVER, Senior Curator, Contemporary Arts Museum, Houston SUSAN POWER, Independent Curator & Scholar E. CARMEN RAMOS, Curator for Latino Art, Smithsonian American Art Museum JOANNA MONTOYA ROBOTHAM, Curator of Modern & Contemporary Art, Tampa Museum of Art CARRIE SPRINGER, Assistant Curator, Whitney Museum of American Art THAYER TOLLES, Marica F. Vilcek Curator of American Painting & Sculpture, The Metropolitan Museum of Art MICHELLE WHITE, Curator, The Menil Collection

FINANCE , FUNDR AISING & AUDIT COMMIT TEE 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; Finance, Fundraising & Audit Committee Co-Chair MARGI CONRADS, Director of Curatorial Affairs, Crystal Bridges Museum of American Art CARTER FOSTER, Deputy Director for Curatorial Affairs, Blanton Museum of Art, University of Texas at Austin CODY HARTLEY, Senior Director, Collections and Interpretation, Georgia O’Keeffe Museum SOYOUNG LEE, Associate Curator, Department of Asian Art, The Metropolitan Museum of Art AL MINER, Assistant Curator of Contemporary Art, Museum of Fine Arts, Boston BRADY ROBERTS, Executive Director & CEO, Vero Beach Museum PETER SCHERTZ, Jack & Mary Ann Frable Curator of Ancient Art, Virginia Museum of Fine Arts; Board of Trustees BRIAN SHOLIS, Independent Curator, Consultant, Editor & Writer ELIZABETH SMITH, Executive Director, Helen Frankenthaler Foundation; Board of Trustees; Finance, Fundraising & Audit Committee Co-Chair 6

G OVERNANCE & NOMINATING COMMIT TEE ELLIOT BOSTWICK DAVIS, John Moors Cabot Chair, Art of the Americas, Museum of Fine Arts Boston LAUREN HAYNES, Curator of Contemporary Art, Crystal Bridges Museum of American Art ANNE LEONARD, Curator & Associate Director, Smart Museum of Art, University of Chicago ADAM LEVINE, Assistant Director, Associate Curator of Ancient Art, Toledo Museum NADINE ORENSTEIN, Curator-in-Charge, Drawings & Prints, The Metropolitan Museum of Art MARK SCALA, Chief Curator, Frist Center for Visual Art; Governance & Nominating Committee Co-Chair HAEMA SIVANESAN, Curator, Art Gallery of Greater Victoria JERRY N. SMITH, Independent Curator JESSICA TODD SMITH, The Susan Gray Detweiler Curator of American Art & Manager, Center for American Art, Philadelphia Museum of Art STACI STEINBERGER, Assistant Curator, Decorative Arts & Design, Los Angeles County Museum of Art GEORGIANA UHLYARIK, Associate Curator, Canadian Art, Art Gallery of Ontario; Vice President Governance, Board of Trustees; Governance & Nominating Committee Co-Chair; Advocacy Task Force Member LLOYD DEWITT, Curator of European Art & Chief Curator, Chrysler Museum of Art ANN YONEMURA, Senior Associate Curator of Japanese Art at the Freer Gallery of Art & the Arthur M. Sackler Gallery; Board of Trustees

M ARKE TING & COMMUNIC ATIONS COMMIT TEE

ANDRÉE BOBER, Director, Landmarks, University of Texas at Austin SUE CANTERBURY, Pauline Gill Sullivan Associate Curator of American Art, Dallas Museum of Art EDIE CARPENTER, Director of Curatorial & Artistic Programs, Green Hill Center for North Carolina Art CLAIRE S. CARTER, Curator of Contemporary Art, Scottsdale Museum of Contemporary Art YEONSOO CHEE, Assistant Curator, USC Pacific Asia Museum KELLY CONWAY, Curator of American Glass, Corning Museum of Glass CATHERINE L. FUTTER, Director of Curatorial Affairs, The Nelson-Atkins Museum of Art; Vice President, Communications; Board of Trustees; Marketing & Communications Committee Co-Chair ALLISON GLENN, Manager of Publications & Curatorial Associate, Prospect New Orleans HILLIARD TODD GOLDFARB, Senior Curator, Collections, Curator of Old Masters, Montreal Museum of Fine Arts AMANDA HELLMAN, Curator of African Art, Michael C. Carlos Museum, Emory University BENJAMIN HICKEY, Curator of Collections & Exhibitions, Masur Museum of Art; Board of Trustees; Marketing & Communications Committee Co-Chair MONICA OBNISKI, Demmer Curator of 20th & 21st Century Design, Milwaukee Art Museum VALERIA PICCOLI, Chief Curator, Pinacoteca do Estado de São Paulo ALTHEA RUOPPO, Curatorial Assistant, Contemporary Art & Special Projects, Museum of Fine Arts, Houston BLAKE SHELL, The Robert & Mercedes Eichholz Director/Curator, The Art Gym, Marylhurst University JULIET SOURCE, Senior Vice President, Resnicow & Associates ASHLEE WHITAKER, Curator of Religious Art, Brigham Young University Museum of Art

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2016 – 2017 A A MC & A A MC FOUNDATION LE ADERSHIP CONT ’D

MEMB ERSHIP COMMIT TEE ROCIO ARANDA-ALVARADO, Curator, El Museo del Barrio; Membership Committee Co-Chair TOBI BRUCE, Director, Exhibitions & Collection, and Senior Curator, Art Gallery of Hamilton CATHERINE L. FUTTER, Director of Curatorial Affairs, The Nelson-Atkins Museum of Art; Vice President, Communications, Board of Trustees; Executive Committee Representative MICHELLE HARGRAVE, Deputy Director, New Britain Museum of American Art; Board of Trustees; Membership Committee Co-Chair MIKE HEARN, Douglas Dillon Chairman, Asian Art, The Metropolitan Museum of Art ROCK HUSHKA, Chief Curator, Tacoma Art Museum XERXES MAZDA, Director of Collections, National Museums Scotland THERESA PAPANIKOLAS, Curator of European & American Art, Honolulu Museum of Art JULIE PIEROTTI, Martha R. Robinson Curator, Dixon Gallery & Gardens MICHELLE RICH, Mellon Postdoctoral Curatorial Fellow, Art of the Ancient Americas, Los Angeles County Museum of Art CHEN SHEN, Vice President, Senior Curator, Bishop White Chair of East Asian Archaeology, Royal Ontario Museum P. ANDREW SPAHR, Director of Collections & Exhibitions, Currier Museum of Art DIALA TOURÉ, Curator of Collections, James E. Lewis Museum of Art

PROFESSIONAL DE VELOPMENT COMMIT TEE BETH CITRON, Curator, Modern & Contemporary Art, Rubin Museum of Art; Professional Development Committee Co-Chair KRISTIE COUSER, Curatorial Assistant for the Manton Study Center for Works on Paper, The Sterling and Francine Clark Art Institute RYAN N. DENNIS, Public Art Director & Curator, Project Row Houses DEJAY DUCKETT, Associate Director, Arthur Ross Gallery, University of Pennsylvania JENNIFER FARRELL, Associate Curator, The Metropolitan Museum of Art SANDRA FRASER, Curator (Collections), Remai Modern Art Gallery of Saskatchewan MADHUVANTI GHOSE, Alsdorf Associate Curator of Indian, Southeast Asian, Himalayan & Islamic Art, Department of Asian Art, Art Institute of Chicago; Board of Trustees TRACEE GLAB, Curator of Collections & Exhibitions, Flint Institute of Arts TRINITA KENNEDY, Curator, Frist Center for the Visual Arts MARGERY KING, Curator, American Federation of Arts GABRIELA MARTINEZ, Curator of Education, Museum of Latin American Art JEN MERGEL, Robert L. Beal, Enid L. Beal & Bruce A. Beal Senior Curator of Contemporary Art, Museum of Fine Arts, Boston (until April 7) & Independent Curator; Vice President, Programs; Board of Trustees; Executive Committee Representative; Inclusion & Access Task Force Co-Leader ADRIANA PROSER, John H. Foster Senior Curator of Traditional Asian Art, Asia Society & Museum BLAKE RUEHRWEIN, Independent Curator JENNIFER SCANLAN, Exhibitions & Curatorial Director, Oklahoma Contemporary; Professional Development Committee Co-Chair GRACE STEWART, Collections & Exhibitions Manager, Metal Museum 8

TA SK FORCES ADVO C AC Y TA SK FORCE JANE A. DINI, Independent Curator 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; Ex Officio GEORGIANA UHLYARIK, Associate Curator, Canadian Art, Art Gallery of Ontario; Vice President, Governance & Nomination, Board of Trustees

INCLUSION & ACCESS TA SK FORCE CHRISTA CLARKE, Senior Curator, Arts of Global Africa, Newark Museum; President-elect, Board of Trustees; Inclusion & Access Task Force Co-Leader MARGI CONRADS, Director of Curatorial Affairs, Crystal Bridges Museum of American Art; Finance, Fundraising & Audit Committee Member DEBORAH CULLEN-MORALES, Director & Chief Curator, The Miriam & Ira D. Wallach Art Gallery, Columbia University KIMBERLI GANT, Curator of Modern & Contemporary Art, Chrysler Museum of Art JEN MERGEL, Robert L. Beal, Enid L. Beal, & Bruce A. Beal Senior Curator of Contemporary Art, Museum of Fine Arts, Boston (until April 7) & Independent Curator; Vice President, Programs, Board of Trustees; Inclusion & Access Task Force Co-Leader JUDITH PINEIRO, Executive Director, AAMC & AAMC Foundation; Ex Officio MICHELLE JOAN WILKINSON, Museum Curator, National Museum of African American History & Culture, Smithsonian Institution; Membership Committee Member

STAFF RE’AL CHRISTIAN, Development/Office Assistant LUCY LYDON, Program and Project Consultant JUDITH PINEIRO, Executive Director; Ex Officio

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MAY 4–8, 2017 MODERN AND CONTEMPORARY ART & DESIGN

OCTOBER 27–31, 2017

MARCH 9–18, 2018

FINE & DECORATIVE ART FROM ANTIQUITY TO 1920

7,000 YEARS OF ART HISTORY

PROGR A MS

REGIONAL PROGR A MMING SERIES: IN- CONVERSATION The AAMC Foundation’s regional series, In-Conversation, with three events a year, focuses on a single issue or topic per event. By bringing this series forward, and opening the program to all, we advance advocacy and inclusion within the curatorial profession by addressing important issues facing the museum and art organization community through a curatorial lens. In hosting these events in central regional areas, we are encouraging a dialogue and making connections across fields, backgrounds, and experiences. Following the content portion of each evening, we invite the audience and speakers to continue the conversation at a reception. Each In-Conversation is planned with great consideration and team effort through engagement of our leadership, team, moderator, and speakers. We are currently planning a June program in Toronto, and a fall program in Chicago.

Future sites under consideration include Miami, Seattle, and Philadelphia.

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2016 – 2017 PROGR A MS

ART & SOCIAL JUSTICE March 2017, Los Angeles, CA DAVID GERE, Professor, Department of World Arts & Cultures/Dance, University of California, Los Angeles NAIMA KEITH, Deputy Director, Exhibitions and Programs, California African American Museum BILL KELLEY, JR., Lead Curator and Researcher, Talking to Action, Ben Maltz Gallery, Otis College of Art and Design PILAR TOMPKINS RIVAS, Director, Vincent Price Art Museum MARY (POLLY) NOOTER ROBERTS, Professor, Department of World Arts & Cultures/Dance, University of California, Los Angeles & Consulting Curator for African Art, Los Angeles County Museum of Art

ADDRESSING IMPLICIT BIAS IN MUSEUMS November 2016, Washington, D.C. CHRISTA CLARKE, Senior Curator, Arts of Global Africa, Newark Museum; AAMC & AAMC Foundation President-elect, Board of Trustees; Inclusion & Access Task Force Co-Leader EDUARDO DÍAZ, Director, Smithsonian Latino Center ELIZABETH EASTON, Co-Founder and Director, Center for Curatorial Leadership; AAMC & AAMC Foundation Past President, Trustee Emerita, Ex Officio E. CARMEN RAMOS, Curator of Latino Art, Smithsonian American Art Museum KIMBERLY J. WILSON, Deputy Director Human Resources, Volunteers & Community Service, Virginia Museum of Fine Arts

MUSEUM DIRECTORS ON THE CURATORIAL ROLE September 2016, Boston, MA JOHN RAVENAL, Executive Director, deCordova Sculpture Park and Museum; AAMC & AAMC Foundation Past President, Trustee Emeritus, Ex Officio MARTHA TEDESCHI, Elizabeth and John Moors Cabot Director, Harvard Art Museums MATTHEW TEITELBAUM, Ann and Graham Gund Director, Museum of Fine Arts, Boston

PREVENTING LOOTING: WHAT CURATORS AND ALL MUSEUM STAFF CAN DO June 2016, New York, NY EDWARD BLEIBERG, Senior Curator, Egyptian Art, Brooklyn Museum SANDRA L. COBDEN, SVP, General Counsel, Dispute Resolution & Legal Public Affairs, Christie’s HELEN C. EVANS, Mary & Michael Jaharis Curator for Byzantine Art, The Metropolitan Museum of Art; AAMC & AAMC Foundation President, Board of Trustees EMILY K. RAFFERTY, President Emerita, The Metropolitan Museum of Art IAN WARDROPPER, Director, The Frick Collection

The 2016 – 2017 In-Conversation series was generously supported in part by Christie’s.

With a video welcome address by DR. JOHNNETTA BETSCH COLE, Director of the Smithsonian National Museum of African Art. 15

PROGR A MS

A A MC & A A MC FOUNDATION ANNUAL CONFERENCE & MEETING A vital part of our mission, the Annual Conference gathers art curators from every discipline and type of organization together to discuss issues facing the profession. Attending the Conference provides a unique opportunity to network across backgrounds, fields, locations, and organizational type.

Our first Conference was held in New York City, and until 2008 was held every year there. In 2009, we began rotating our Conferences every other year between important cultural locations and NYC. We are proud to have hosted events in Chicago, Boston, Detroit, Houston, and Los Angeles. In 2014 we began additional weekend tours to expand our members’ experience within our host city. The multi-day event is open to all AAMC members with additional Conference guests of AAMC, including host city leaders, foundation representatives, supporters, sponsors, and luminaries in the field.

Last year, we celebrated our 15th Annual Conference & Meeting, AAMC @ 15: Moving Forward. We looked at the present and future of the curatorial profession, museums, and other non-profit art institutions, emphasizing the need for diversity within the curatorial profession. We succeeded in bringing together curators and guests from 39 U.S. states and six countries to discuss, meet, and learn over our four days in Houston, Texas. Over 350 attendees representing 193 institutions, as well as those without institutional affiliation, along with more speakers than at any other Conference, furthered a network of communications that continues across fields, institutional type and programmatic goals through our website and other subsequent programming.

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The 2016 Conference welcomed Darren Walker, President of the Ford Foundation, and Hilton Als, staff writer & theater critic for The New Yorker, who led a timely keynote conversation that supported, strengthened, and furthered the diversity and inclusion efforts of AAMC & AAMC Foundation. Other past keynote speakers also profoundly influenced our members’ approach to their roles, including Tom Finkelpearl, NYC’s Commissioner of Cultural Affairs; Mariët Westermann, Vice President, The Andrew W. Mellon Foundation; Philippe de Montebello and Maxwell Anderson as museum directors; and art critics for the New York Times, Michael Kimmelman and Holland Cotter.

Our 2016 Conference was highly successful, but to ensure we are answering the needs of our constituency, each year we reevaluate the programming and implement new ideas—it is not a stagnant formula. New in 2017, we are encouraging an interchange between speakers and attendees through two Keynote Dialogue pairings, rather than a Keynote Address; a reception with an artist on the Saturday night of the program; ShopTalks, a set of five-minute case study presentations; and Committee Open Forums.

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PROGR A MS

THE NET WORKED CUR ATOR

The AAMC Foundation and the Roy Rosenzweig Center for History and New Media at George Mason University are pleased to launch The Networked Curator with funding from the Samuel H. Kress and Getty Foundations. Each three-day digital literacy workshop will engage 12 art curators in the non-commercial sector working with or without direct or full-time museum affiliation, and representative of varying fields of study, stages of career, self-identifiers, and geographical location.

Attendees will gain expanded digital literacy and vocabulary, a better understanding of what is possible on the web and in digital environments, and increased knowledge of best practices for organizing, sharing, and publishing research online. Sessions on Working and Sharing Online, Digital Research Management, and Digital Storytelling and Publishing will empower attendees to participate actively in digital initiatives, encourage collaboration and content sharing, and allow them to connect better with the public in digital formats. Following the program, participants can continue to discuss ideas, challenges, and new approaches to digital engagement through a dedicated program forum on the AAMC & AAMC Foundation website.

The Networked Curator inaugural workshop will take place August 6 - 8, 2017, at George Mason University’s Arlington campus. The second workshop will take place in winter of 2018 at the Getty Center.

The AAMC Foundation is grateful to the Getty Foundation and the Samuel H. Kress Foundation for their major support of The Networked Curator Program.

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PROGR A MS

A A MC FOUNDATION WEBINARS

The AAMC Foundation offers webinars on essential skills, timely issues, and best practices that define the profession of art curator and enhance understanding and development in the field. Webinars are presented through the AAMC Foundation with engagement from our Professional Development and Career Support Committees, as well as directly through the AAMC and specific programs.

ARCHIVED WEBINARS AVAIL ABLE ON ARTCURATORS.ORG listed alphabetically by title

Accounting for Curators: Building the Exhibition Budget Articulating Priorities for Collections for Mentees Authentication and Expertise by Curators Both Sides of the Board Contemporary Ways to Present Historical Art Cultivating Opportunities for Research for Mentors Curating from the Outside Curating Social Justice: Three Case Studies Curatorial Ethics Curators and Community Engagement Curators and Conservators: Successful Cooperation Curators Thinking Digitally CV and Interview Skills Development 101 E-Publications – Why Bother?

How Curatorial Projects Get Funded: Navigating the Institutional Machine How to Be a Mentor How to Mentor Those You Manage Label Writing Management 101 for Mentees Managing in All Directions for Mentors Maximizing Your Leadership Mobile Technology & Curatorial Practice Museum Metrics: Measuring the Tangible and Intangible to Gauge an Exhibition’s Success Planning Your Career The Role of Design & Architecture in Museums of Art, History & Culture Strategic Planning Successful Mentorship Year: For Mentees Successful Mentorship Year: For Mentors Working with Living Artists: A Roadmap to Navigate Commissions, Interpretation, and Contracts 19

PROGR A MS

PROGR A MMING PRODUCED WITH PARTNER ORGANIZ ATIONS

We believe collaboration between organizations and communities brings value and working together to share knowledge and experiences encourages dialogues that enable us to better serve our communities together. From efforts in participating in Advocacy for the Arts and Museum Advocacy Day, to joining the Council of Affiliates at the American Alliance of Museums, solidifying our relationship and commitment to the larger museum community; we forge ahead to make better relationships for greater impact.

RECENT PROGR A MMING A AMC & NCAC WORKSHOP Handling Controversy A AMD & A AMC PROGRAM Discussion and Workshop on Provenance, Cultural Property and Evolving Ivory Laws ADA A & A AMC RECEPTION Presenting the ADAA Curatorial Research & Development Awards A AMC AFFILIATED SESSIONS AT CA A Curators: Agents of Change from ‘Inside and Outside the Box’ (of the Museum) Paths to a Curatorial Career Exploring New Models of Curatorial Scholarship The Art Museum Curator: Persevere, Adapt, or Reinvent 20

FELLOWSHIPS

A A MC FOUNDATION ENG AGEMENT PROGR A M FOR INTERNATIONAL CUR ATORS The AAMC Foundation Engagement Program for International Curators, made possible with major support from the Terra Foundation for American Art, is a two-year Program for three non-U.S. based curators and three U.S. Liaisons working on or having worked within exhibitions and projects that explore historic American Art (c. 1500-1980).

Through fostering international relationships between curators, the Program aims to not only provide opportunities for professional development and exchange, but also to expand and strengthen the international curatorial community and give primacy to the curatorial voice in the international dialogue between museum professionals. The Program will be an active part of building international partnerships, leading crossborder conversations, and spearheading international representation within AAMC’s membership & AAMC Foundation’s efforts.

We are honored to list the inaugural class of participants in this program below.

2016 – 2018 CL A SS NICHOLAS MICHAEL CHAMBERS, Senior Curator, Modern and Contemporary International Art, Art Gallery of New South Wales; International Awardee ALISON DE LIMA GREENE, Isabel Brown Wilson Curator, Modern & Contemporary Art, Museum of Fine Arts, Houston; AAMC & AAMC Foundation Board of Trustees; Conference Committee Co-Chair; U.S. Liaison SARAH ANNE LEA, Curator, Royal Academy of Arts; International Awardee CAROL S. ELIEL, Curator of Modern Art, Los Angeles County Museum of Art; AAMC & AAMC Foundation Past President, Trustee Emerita, Ex Officio; U.S. Liaison FERNANDA MENDONÇA PITTA, Senior Curator, Pinacoteca do Estado de São Paulo; International Awardee ANNA O. MARLEY, Curator of Historical American Art, Pennsylvania Academy of the Fine Arts; U.S. Liaison

The AAMC Foundation is grateful for major support of this Program from The Terra Foundation for American Art.

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FELLOWSHIPS

MENTORSHIP PROGR A M Our Mentorship Program, launched in 2012, reinforces our mission to foster the professional development of curators at all levels, and furthers our efforts to aid and promote the curatorial profession by providing the tools for our members to grow in their career and field. Each May during the Annual Conference, we hold an Alumni reception celebrating the incoming and outgoing class of pairings by bringing together program alumni and AAMC leadership.

The selection process is extremely competitive, with many Mentee applications each year. In addition to awarding a Mentee with the program, we have been honored to have revered members of our community serve in the valued role of Mentor. During the 12-month Program, an additional outlet for support is provided in a Career Support Committee Liaison, singularly dedicated to a pairing.

Each Mentee and Mentor is provided a travel stipend, access to program webinars, participation in a program virtual discussion room, and direct reporting to a Liaison, all which further the experience of the Program.

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

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We are pleased to announce the 2017 – 2018 class of Awardees, along with the group completing the 2016 – 2017 Program.

MARK SCALA, Chief Curator, Frist Center for Visual Art; AAMC & AAMC Foundation Governance & Nominating Committee Co-Chair; Mentor

2016 – 2017 CL A SS

KLAUDIO RODRIGUEZ, Curator, The Patricia & Phillip Frost Art Museum, Florida International University; 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; AAMC & AAMC Foundation Board of Trustees; Career Support Committee Co-Chair; Career Support Committee Liaison GRAHAM C. BOETTCHER, Deputy Director & The William Cary Hulsey Curator of American Art, Birmingham Museum of Art; AAMC & AAMC Foundation Vice President, Finance, Board of Trustees; 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; AAMC & AAMC Foundation Career Support Committee Co-Chair; 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

TAMARA SCHENKENBERG, Associate Curator, Pulitzer Foundation for the Arts; Mentee

APRIL M. WATSON, Curator, Photography, The Nelson-Atkins Museum of Art; Mentor DIANA GREENWOLD, Associate Curator of American Art, Portland Museum of Art; Mentee PAULA RICHTER, Curator of Exhibitions & Research, Peabody Essex Museum; Career Support Committee Liaison

2017 – 2018 CL A SS XANDRA EDEN, Executive Director & Chief Curator, DiverseWorks; AAMC & AAMC Foundation Conference Committee; Mentor ZOMA WALLACE, Curator, DC Commission on the Arts and Humanities; Mentee LISA DORIN, Deputy Director for Curatorial Affairs, Williams College Museum of Art; Career Support Committee Liaison SUZANA MILEVSKA, Principal Researcher, Polytechnic University, Milan; Mentor RYAN N. DENNIS, Public Art Director & Curator, Project Row Houses; Mentee PAUL HA, Director, MIT List Visual Arts Center; Career Support Committee Liaison T. BARTON THURBER, Associate Director for Collections & Exhibitions, Princeton University Art Museum; Mentor LISA J. SUTCLIFFE, Curator of Photography & Media Arts, Milwaukee Art Museum; Mentee ROBIN L. CLARK, Director of the Artist Initiative, San Francisco Museum of Modern Art; Career Support Committee Liaison 23

FELLOWSHIPS

SA MUEL H. KRESS FOUNDATION AND ASSOCIATION OF ART MUSEUM CURATORS AFFILIATED FELLOWSHIP AT THE A MERIC AN AC ADEMY 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. Awarded projects may be on any subject, and do not need to be Rome or Italian specific, especially as the rich content of the city’s museums, libraries, and archives are portals to conducting work on a myriad of subjects from all arts disciplines and time periods.

For the past four years, we have been honored to select an outstanding curator for an Affiliated Fellowship to the AAR, and are grateful to the Kress Foundation for their support of the program.

FELLOWSHIP AWARDEE S 2014 – 2015

HILLIARD TODD GOLDFARB, Senior Curator, Collections, Curator of Old Masters, Montreal Museum of Fine Arts; AAMC & AAMC Foundation Marketing & Communications Committee; 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

2017 – 2018

JESSICA POWERS, Gilbert M. Denman, Jr., Curator of Art of the Ancient Mediterranean World, San Antonio Museum of Art; research on Sacred Landscapes: Visions of Nature and Myth in Ancient Rome

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.

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FELLOWSHIPS

TR AVEL GR ANT FELLOWSHIPS

AAMC Foundation oversees Travel Grant Fellowships to attend our Annual Conference & Meeting. Many junior curators have extremely limited access to professional development funding or travel allowances through their institutions.

Therefore, in 2006, recognizing the value of attending the Conference, the AAMC Foundation established the Travel Grant Fellowship program. The Fellowship enables curators with no or little funds allocated for professional development travel to attend our Conference.

Since 2010 alone, over 160 individual Travel Grant Fellowships have been awarded.

With the generosity of the Samuel H. Kress Foundation and the Henry Luce Foundation, in 2016 we supported 29 curators with funding.

The AAMC Foundation is grateful to the Samuel H. Kress Foundation and the Henry Luce Foundation for their support of the 2017 Conference Travel Fellowship Program.

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John Singer Sargent

(1856–1925)

The Millet House and Garden,

1886

Oil on canvas, 27 x 35½ inches

Menconi + Schoelkopf 13 e 69 st, nyc 10021

212 879 8815

info@msfineart.com

www.msfineart.com

by appointment

AWARDS FOR EXCELLENCE The Awards for Excellence, highly esteemed by art curators everywhere, are the only awards of their kind by which curators directly honor the work of their colleagues. This year, we are delighted to add the category of Digital Publications, recognizing outstanding contributions to scholarship in e-publication formats.

At the 2016 Conference, we launched a formal Awards ceremony reception, which was held at The Menil Collection.

The widely popular event welcomed 300 individuals celebrating curatorial achievements, and quickly went viral across the museum community.

This year, AAMC received nearly 120 nominations. From there, 18 projects were selected as Awardees. We applaud all our jurors and committee members for their time and thoughtful review of the nominations. A special thank you to our Awards for Excellence Committee Chair, Jennifer Komar Olivarez, Head of Exhibition Planning and Strategy, Interim Curator of the Purcell-Cutts House, Minneapolis Institute of Arts.

We are delighted to celebrate the achievements of this year’s Awardees at the newly opened ICP Museum.

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AWARDS FOR EXCELLENCE CONT ’D

2017 AWARD FOR EXCELLENCE RECIPIENTS C ATALO GUE AWARD C ATEG ORIE S ORGANIZ ATION WITH AN OPERATING BUDGE T UNDER $2 MILLION AWARDEE

TRACY L. ADLER, Johnson-Pote Director, Ruth & Elmer Wellin Museum of Art at Hamilton College For Yun-Fei Ji: The Intimate Universe at the Ruth & Elmer Wellin Museum of Art at Hamilton College ORGANIZ ATION WITH AN OPERATING BUDGE T OF $2 – $6 MILLION AWARDEE

JESSICA MOSS, Consulting Curator, Smart Museum of Art, University of Chicago For Monster Roster: Existentialist Art in Postwar Chicago at the Smart Museum of Art ORGANIZ ATION WITH AN OPERATING BUDGE T OF $6 – $15 MILLION AWARDEE

MELISSA WOLFE, Curator of American Art, Saint Louis Art Museum For Subversion & Surrealism in the Art of Honoré Sharrer at the Columbus Museum of Art ORGANIZ ATION WITH AN OPERATING BUDGE T OF $15 – $30 MILLION AWARDEE

FORREST MCGILL, Wattis Senior Curator of South & Southeast Asian Art, Asian Art Museum of San Francisco For The Rama Epic: Hero, Heroine, Ally, Foe at the Asian Art Museum of San Francisco ORGANIZ ATION WITH AN OPERATING BUDGE T OVER $30 MILLION AWARDEE

SEAN HEMINGWAY, Curator, Greek & Roman Art, The Metropolitan Museum of Art CARLOS A. PICON, Curator-in-Charge, Greek & Roman Art, The Metropolitan Museum of Art Both for Pergamon & the Hellenistic Kingdoms of the Ancient World at The Metropolitan Museum of Art HONORABLE MENTION

CAROL S. ELIEL, Curator of Modern Art, Los Angeles County Museum of Art; AAMC & AAMC Foundation Past President, Trustee Emerita, Ex Officio KAROLE P.B. VAIL, Curator, Solomon R. Guggenheim Museum MATTHEW S. WITKOVSKY, Richard & Ellen Sandor Chair & Curator, Department of Photography, The Art Institute of Chicago All for Moholy-Nagy: Future Present at The Art Institute of Chicago, the Solomon R. Guggenheim Museum, & the Los Angeles County Museum of Art

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E XHIBITION AWARD C ATEG ORIE S ORGANIZ ATION WITH AN OPERATING BUDGE T UNDER $2 MILLION AWARDEE

PAMELA S. WALL, Curator of Exhibitions, Gibbes Museum of Art For The Things We Carry: Contemporary Art in the South at the Gibbes Museum of Art ORGANIZ ATION WITH AN OPERATING BUDGE T OF $2 – $6 MILLION AWARDEE

STACY C. HOLLANDER, Deputy Director for Curatorial Affairs, Chief Curator, Director of Exhibitions, American Folk Art Museum For Securing the Shadow: Posthumous Portraiture in America at the American Folk Art Museum ORGANIZ ATION WITH AN OPERATING BUDGE T OF $6 – $15 MILLION AWARDEE

NANCY KATHRYN BURNS, Assistant Curator of Prints, Drawings & Photographs, Worcester Art Museum KRISTINA WILSON, Associate Professor of Art History & Chair, Department of Visual & Performing Arts, Clark University Both for Cyanotypes: Photography’s Blue Period at the Worcester Art Museum ORGANIZ ATION WITH AN OPERATING BUDGE T OF $15 – $30 MILLION AWARDEES (TIE)

ANNE-MARIE EZE, Director of Scholarly & Public Programs, Houghton Library, Harvard University NATHANIEL SILVER, Associate Curator, Isabella Stewart Gardner Museum Both for Beyond Words: Italian Renaissance Books at the Isabella Stewart Gardner Museum MASSUMEH FARHAD, Chief Curator & Curator of Islamic Art, Freer Gallery of Art & Arthur M. Sackler Gallery, Smithsonian Institution SIMON RETTIG, Assistant Curator of Islamic Art, Freer Gallery of Art & Arthur M. Sackler Gallery, Smithsonian Institution Both for The Art of the Qur’an: Treasures from the Museum of Turkish & Islamic Arts at the Freer Gallery of Art & Arthur M. Sackler Gallery, Smithsonian Institution HONORABLE MENTION

JENS HOFFMANN, Deputy Director, Exhibitions & Public Programs, The Jewish Museum CLAUDIA J. NAHSON, Morris & Eva Feld Curator, The Jewish Museum Both for Roberto Burle Marx: Brazilian Modernist at The Jewish Museum 29

AWARDS FOR EXCELLENCE CONT ’D

2017 AWARD FOR EXCELLENCE RECIPIENTS E XHIB ITI O N AWA R D C ATEG O R IE S (CO N T ’ D) ORGANIZ ATION WITH AN OPERATING BUDGE T OVER $30 MILLION AWARDEE

AL MINER, Assistant Curator of Contemporary Art, Museum of Fine Arts, Boston; AAMC & AAMC Foundation Finance, Fundraising and Audit Committee LAURA WEINSTEIN, Ananda Coomaraswamy Curator of South Asian & Islamic Art and Acting Matsutaro Shoriki Chair, Art of Asia, Museum of Fine Arts, Boston Both for Megacities Asia at the Museum of Fine Arts, Boston

AR TICLE , E SSAY OR E X TE NDE D C ATALO GUE C ATEG ORY AWARDEE

STACY C. HOLLANDER, Deputy Director for Curatorial Affairs, Chief Curator, Director of Exhibitions, American Folk Art Museum For Securing the Shadow: Posthumous Portraiture in America at the American Folk Art Museum HONORABLE MENTION

AARON WILE, Chester Dale Fellow, The Metropolitan Museum of Art; PhD Candidate, History of Art & Architecture, Harvard University For Watteau & the Inner Life of War at The Frick Collection

DIG ITAL PUBLIC ATION C ATEG ORY AWARDEE

ALEXANDRA (SASHA) SUDA, Curator, European Art & R. Fraser Elliott Chair, Print & Drawing Council, Art Gallery of Ontario For The Boxwood Project at the Art Gallery of Ontario HONORABLE MENTION

DIETER ROELSTRAETE, former Manilow Senior Curator, Museum of Contemporary Art Chicago, currently Curator, Documenta 14 ABIGAIL WINOGRAD, former Research Associate, Museum of Contemporary Art Chicago, currently Independent Curator & Transhistorical Fellow Frans Hals Museum, Haarlem, the Netherlands Both for Kerry James Marshall: Mastry at the Museum of Contemporary Art Chicago

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Debra Force Fine Art Salutes the Association of Art Museum Curators

PE T E R BLU M E ( 1906–1992) ST U DY FO R ‘ S OU T H OF S C RAN TON ,’ 1930 O I L O N C A N VAS , 2 8 x 20 IN .

13 EAST 69TH STREET TEL 212.734.3636

SUITE 4F

NEW YORK 10021

INFO @ DEBRAFORCE.COM

NEW YORK

Robert Mangold 510 West 25th Street May 6 – June 17

Alexander Calder Calder / Miro: Constellations In Conjunction with Acquavella Gallery

32 East 57th Street Through June 30

Leo Villareal 537 West 24th Street May 4 – June 17

Keith Sonnier Frieze New York Randall’s Island Park May 5 – 7

CALIFORNIA

David Hockney The Yosemite Suite 229 Hamilton Avenue, Palo Alto Through May 7

AAMC_2017_NonBleed_030717.indd 1

3/7/17 1:42 PM

Godel & Co. proudly supports the Association of Art Museum Curators

Richard Caton Woodville (1825-1855), Scene in a Bar-Room, 1845 Oil on panel, 8 ½ x 6 ¾ in., signed lower right

G O D E L &C O

506 EAST 74TH STREET 4W NEW YORK NY 10021 212-288-7272 WWW.GODELFINEART.COM

© 1987 Peter Bellamy

WILLIAM T. WILLIAMS

Things Unknown: Paintings, 1968-2017 April 7 – June 3, 2017 Michael Rosenfeld Gallery is now the proud representative of William T. Williams (b.1942).

100 ELEVENTH AVENUE @ 19TH, NEW YORK, NY 10011 • 212.247.0082 • MICHAELROSENFELDART.COM

MRG_AAMC_Williams.indd 1

3/11/17 3:45 PM

A A MC & A A MC FOUNDATION CORPOR ATE & FOUNDATION SUPPORTERS

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

THE BROAD ART FOUNDATION

THE HECHT FAMILY FOUNDATION

THE IRIS FOUNDATION

DAVID L . KLEIN FOUNDATION

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

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A A MC FOUNDATION CIRCLE DONORS Circle level donors support the AAMC Foundation’s programming. We are grateful for their dedication, and applaud their passion for the curatorial profession.

CIRCLE DONORS

(March 1, 2016 – March 15, 2017)

PRESIDENT ’ S CIRCLE Hiram Butler Lisa Dennison, Sotheby’s Mr. & Mrs. Spencer Hays Almine Ruiz-Picasso

Nina del Rio, Sotheby’s John C. Weber Allison Whiting, Christie’s

PRESIDENT’S CIRCLE

LE ADERSHIP CIRCLE Anonymous Melissa Chiu James Cohan Helen C. Evans Madhuvanti Ghose Lynda Roscoe Hartigan Shirley & Barnett Helzberg Jr. Betty Krulik Ed Marquand

Monica O. Montgomery Cynthia Hazen Polsky John B. Ravenal Jean & Fred Sharf Elizabeth Smith Gary Tinterow Susan Weber Ann Yonemura

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$5,000 & above annually • Invitation to a private lunch and exhibition tour with AAMC President • Invitation to attend the Annual Circle Donor Reception • 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 and Leadership Circle supports, in part, AAMC’s Professional Development activities.

LEADERSHIP CIRCLE

CUR ATOR ’ S CIRCLE Dita Amory Paola Antonelli Rene Paul Barilleaux Graham C. Boettcher Emily Braun Nicholas Chambers Christa Clarke Elliott Bostwick Davis Elizabeth W. Easton Carol S. Eliel Catherine Evans Linda Ferber Catherine L. Futter John Stuart Gordon Alison de Lima Greene Gloria Groom Benjamin Hickey Katherine Howe

CIRCLE LEVELS INFORM ATION

Norman Kleeblatt Wolfram Koeppe Marianne Lamonaca Sarah Lea Jen Mergel Mary G. Morton Marisa J. Pascucci Fernanda Mendonça Pitta Emily Rauh Pulitzer Carolyn M. Putney Annemarie Sawkins Mark Scala Claire Schneider Lowery Stokes Sims Cindi Strauss Ann Temkin Georgiana Uhlyarik

$2,500 annually • Invitation to attend the Annual Circle Donor Reception • 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 and 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 Reception • Advance registration for programs and special events, as accessibility permits • Subscription to AAMC’s e-newsletter • Recognition of support

A A MC FOUNDATION ANNUAL FUND DONORS

We are grateful to all our Annual Fund donors for their support.

(March 1, 2016 – March 15, 2017)

Maya Allison Lynne D. Ambrosini Dita Amory Sharon Matt Atkins Rene Paul Barilleaux Frances Beatty Greg W. Bell Graham C. Boettcher Nathalie Bondil Emily Braun Sarah Cash Beth Citron Robin L. Clark Christa Clarke Deborah Cullen Lisa Dennison Erin Dunn Diana Fane Sandra Q. Firmin Jay McKean Fisher Catherine L. Futter Tonya Faye Green Sarah J. Hall Michelle Hargrave The Hecht Family Foundation James Milton & Sallie R. Johnson Barbara L. Jones Sarah B. Kianovsky The David L. Klein Foundation Nahum & Alice Lainer Mary-Kay Lombino

Glenn D. Lowry Barbara MacAdam Karen Manchester C. GriďŹƒth Mann Susan B. Matheson Joan R. Mertens Mary G. Morton Jennifer Komar Olivarez Kimberly Orcutt Marina Pacini Theresa Papanikolas Elinor Lynne Pearlstein Jennifer Casler Price Emily Rauh Pulitzer Allyson Purpura David S. Rubin Annemarie Sawkins Mark Scala Peter Schertz Marianna Shreve Simpson Elizabeth Smith Will South P. Andrew Spahr Martha P. Tedeschi Ann Temkin Georgiana Uhlyarik Olga M. Viso Michael & Stark Ward Ian Bruce Wardropper Stephan Wolohojian Ann Yonemura 41

A A MC INSTITUTIONAL MEMBERS AAMC’s institutional members provide critical support for our organization. By being institutional members the museums and organizations below are highlighting their commitment to the curatorial field and their desire to see it flourish.

(March 1, 2016 – March 15, 2017)

Ackland Art Museum Addison Gallery of American Art Albright Knox Art Gallery Amon Carter Museum of American Art Arkansas Art Center Art Gallery of Greater Victoria Art Gallery of Ontario The Baltimore Museum of Art Birmingham Museum of Art Boca Raton Museum of Art Boston Athenaeum Brooklyn Museum Cincinnati Art Museum Sterling & Francine Clark Art Institute The Cleveland Museum of Art Colby College Museum of Art Contemporary Art Museum, University of Southern Florida Cornell Fine Arts Museum Corning Museum of Glass Currier Museum of Art deCordova Sculpture Park & Museum Delaware Art Museum Denver Art Museum Dixon Gallery & Gardens Nora Eccles Harrison Museum of Art Fine Arts Museums of San Francisco The Fralin Museum of Art at the University of Virginia Frick Art & Historical Center The Frick Collection Frist Center for the Visual Arts Fuller Craft Museum Isabella Stewart Gardner Museum J. Paul Getty Museum Gilcrease Museum Solomon R. Guggenheim Museum Hammer Museum of Art Harvard Art Museums Henry Art Gallery Hillwood Estate, Museum & Gardens Hood Museum of Art The Hyde Collection The Institute of Contemporary Art Boston The Jewish Museum 42

Herbert F. Johnson Museum of Art Mildred Lane Kemper Art Museum Kimbell Art Museum Los Angeles County Museum of Art Mead Art Museum Memphis Brooks Museum of Art The Menil Collection The Metropolitan Museum of Art Minneapolis Institute of Arts Mississippi Museum of Art MIT List Visual Arts Center Montreal Museum of Fine Arts Museo Soumaya & Fundación Carlos Slim Museum of Art, Rhode Island School of Design Museum of Fine Arts, Boston The Museum of Fine Arts, Houston The Museum of Modern Art Museum of Northwest 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 Newark Museum 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 Peabody Essex Museum Philadelphia Museum of Art Picker Art Gallery at Colgate University Pomona College Museum of Art

Portland Art Museum Portland Museum of Art Princeton University Art Museum Norman Rockwell Museum Saint Louis Art Museum San Antonio Museum of Art San Diego Museum of Art San Francisco Museum of Modern Art Santa Barbara Museum of Art Scottsdale Museum of Contemporary Art Seattle Art Museum Smithsonian American Art Museum The Studio Museum in Harlem Tampa Museum of Art The Frances Young Tang Teaching Museum & Art Gallery Tarble Arts Center Telfair Museums Toledo Museum of Art UB Art Galleries UC Berkeley Art Museum & Pacific Film Archive Virginia Museum of Fine Arts Vizcaya Museum & Gardens The Wadsworth Atheneum Museum of Art Wexner Center for the Arts Whitney Museum of American Art Wichita Art Museum Williams College Museum of Art Winterthur Museum, Garden & Library Worcester Art Museum Yale Center for British Art Yale University Art Gallery Jane Voorhees Zimmerli Art Museum

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CONFERENCE SPONSORS & SUPPORTERS Thank you to the following for their support & enthusiasm for the 2017 AAMC & AAMC Foundation Conference & Meeting.

LE AD CORPOR ATE & FOUNDATION SPONSORS

SPONSORS

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SUPPORTERS Brooklyn Museum Center for Italian Modern Art Mark di Suvero Studio Helen Frankenthaler Foundation International Center of Photography The Laundromat Project The Metropolitan Museum of Art Mount Vernon Hotel Museum and Garden Morris-Jumel Mansion

Museum Hue Museum of Chinese in America Museum of the City of New York New-York Historical Society The Isamu Noguchi Foundation & Garden Museum Michael Rosenfeld Gallery Socrates Sculpture Park The Studio Museum in Harlem Whitney Museum of American Art

We are grateful to those listed here for their dedication and commitment to the 2017 Annual Conference & Meeting.

Sharon Matt Atkins Caroline Baumann Polina Berlin Colleen Blackler Graham C. Boettcher Hannah Byers Amanda Cachia Thomas P. Campbell Christina Chang Julia Clark Christa Clarke Margi Conrads Lucas Cooper Deborah Cullen-Morales Terri Daly Malcolm Daniel Mark di Suvero Lisa Dennison Jenny Dixon Whitney W. Donhauser Xandra Eden Helen C. Evans Heather Ewing Samantha Fleck Tuliza Fleming Catherine L. Futter Kimberli Gant Thelma Golden

Alison de Lima Greene Diana Jocelyn Greenwold Vanessa Hagerbaumer Halley K. Harrisburg Dakin Hart John Hatfield Sarah Henry Steven Henry Carmen Hermo Margaret K. Hofer Amanda Hunt Kemi Ilesanmi Corey Keller Nick Kusner Marianne Lamonaca Mark Lubell Lucy Lydon Nancy Yao Maasbach Laura Meli Jen Mergel Ivana Mestrovic Monica O. Montgomery Catherine Morris Nicole Myers Lauren Nechamkin Tanya M. Odom Jennifer Komar Olivarez Valerie Cassel Oliver

Ruth Osborne Anne Pasternak Susan Power E. Carmen Ramos Hatuey Ramos-Fermin Hallie Ringle Nina del Rio Justin Romeo Joanna Montoya Robotham Alexandra Schwartz Margi Schwartz Kwabena Slaughter Elizabeth Smith Carrie Springer Tomoko Takahashi Hank Willis Thomas Thayer Tolles Kristi Tremblay Georgiana Uhlyarik Carol Ward Adam D. Weinberg Michelle White Jess Wilcox Michelle Joan Wilkinson Christy Williams Deborah Willis Egle Zygas

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WOMEN IN THE ARTS ABOUT

JOIN

Now in its thirty-seventh year, ArtTable is the leading national organization devoted to supporting and advancing professional women in the visual arts. ArtTable seeks to foster a stronger future for all women in the arts. We expand opportunities for women from diverse communities and backgrounds across the country, serving them at all stages of their careers.

Become a member of a distinguished, national professional network of 1,200+ female leaders in the visual arts. Members have at least five years of professional experience in the management, business, administration, promotion, interpretation, scholarship, and/or stewardship of the visual arts. Membership is by application.

Apply online by visiting www.arttable.org or e-mail membership@arttable.org.

Our members benefit from mentorship and professional-development opportunities; forums on critical issues in the field; and exclusive access to art fairs, exhibitions, private collections, and artists’ studios.

CONTACT T 212 343 1735 E info@arttable.org www.arttable.org

FOLLOW Twitter.com/ArtTable Instagram.com/ArtTableInc/ Facebook.com/ArtTableInc/

S AVE THE DATE S AAM C & A A M C F O U N DAT I O N ANNUA L CON F ER EN C E & M E E T I N G

2018

MAY 5 – 8 M O N T R E A L , CANADA

2019

MAY 4 – 7 N E W YO R K CI T Y

KE YNOTE DIALOGUE PRESENTERS M O N D AY, M AY 8

MONICA O. MONTGOMERY Founding Director & Curator, Museum of Impact

TANYA M . ODOM , ED.M .

Global Diversity & Inclusion & Education Consultant & Executive Coach

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Monica O. Montgomery is a cultural entrepreneur, curating media, museums and memory to enhance creative inspiration. She believes museums should be in service to society, and is the Founding Director of the Museum of Impact, the world’s first mobile social justice museum. She leads MOI in working within communities to amplify grassroots movements and social issues at the intersection of art and activism.

Museum of Impact is currently traveling across the country with the inaugural exhibit ‘Movement Is Rising: Journey of #BlackLivesMatter’ and collecting oral histories and stories via the Activist Love Letters™ project. Monica is the Co-Founder and Strategic Director of Museum Hue, a platform advancing the visibility and viability of professionals of color in museums, arts, culture and creative careers.

Tanya M. Odom is a global consultant, coach, facilitator, teacher, writer, and thought leader. She has worked globally as a consultant and facilitator for over two decades focusing on areas including: Innovation and Creativity, Diversity and Inclusion, Race/Racism, Teambuilding, Mindfulness, Coaching, Inclusive Leadership, Girls’ Leadership Development, and Youth Empowerment/Mentoring. Tanya’s unique portfolio career has allowed her to work in the education, private sector/corporate, not-for-profit/NGO, law enforcement, and university/college arenas. She is the co-author of Evaluation in the Field of Education for Democracy, Human Rights and Tolerance. Tanya is a frequent contributor to the Huffington Post, where she has written posts about diversity, leadership, self-compassion, and mindfulness. Tanya also writes for CNN.com. Tanya’s work and commentary has also appeared in several publications including Diversity Woman Magazine, Bloomberg News, and The Village Voice. She has spoken on issues of race and multiculturalism on Newstalk Television cable show and HOT-97 radio program. Tanya was on the faculty of the Human Resources Management program at Georgetown University, where she taught courses in the area of innovation and creativity. She has also taught at Princeton University in the Junior Summer Institute, and has been an adjunct professor at Manhattanville College, where she taught graduate courses in the areas of Diversity, Leadership, and Team Development. She has also taught a course at the Center for Conflict Resolution at the University of Capetown in South Africa.

KE YNOTE DIALOGUE PRESENTERS

credit: Image by Andrea Blanch

T U E S D AY, M AY 9

HANK WILLIS THOMAS

credit: Image by Hank Willis, Sr.

Artist

DEBORAH WILLIS, PH.D

University Professor & Chair of the Department of Photography & Imaging at the Tisch School of the Arts, New York University

Hank Willis Thomas is a photo conceptual artist working primarily with themes related to identity, history and popular culture. He has exhibited throughout the U.S. and abroad and is in numerous public collections including The Museum of Modern Art New York, The Solomon R. Guggenheim Museum, The Whitney Museum of American Art, the Brooklyn Museum, The Cleveland Museum of Art and the National Gallery of Art in Washington DC. His collaborative projects have been featured at the Sundance Film Festival and installed permanently at the Oakland International Airport, The BirminghamShuttlesworth International Airport, The Oakland Museum of California, and the University of California, San Francisco. He is also a recipient of the New Media grant from Tribeca Film Institute and New Media Infinity Award from the International Center of Photography for his trans media project, Question Bridge: Black Males. He is a commissioner for the Public Design Commission for the city of New York.

Thomas is represented by Jack Shainman Gallery in New York City and Goodman Gallery in South Africa.

Deborah Willis is University Professor and Chair of the Department of Photography & Imaging at the Tisch School of the Arts at New York University and has an affiliated appointment with the College of Arts and Sciences, Department of Social & Cultural, Africana Studies, where she teaches courses on photography and imaging, iconicity, and cultural histories visualizing the black body, women, and gender. Her research examines photography’s multifaceted histories, visual culture, the photographic history of Slavery and Emancipation, contemporary women photographers and beauty. She received the John D. and Catherine T. MacArthur Fellowship and was a Richard D. Cohen Fellow in African and African American Art, Hutchins Center, Harvard University and a John Simon Guggenheim Fellow. Professor Willis received the NAACP Image Award in 2014 for her co-authored book (with Barbara Krauthamer) Envisioning Emancipation. Other notable projects include The Black Female Body: A Photographic History, Reflections in Black: A History of Black Photographers – 1840 to the Present, Posing Beauty: African American Images from the 1890s to the Present, Michelle Obama: The First Lady in Photographs, a NAACP Image Award Literature Winner, and Black Venus 2010: They Called Her ‘Hottentot’.

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SCHEDULE IN BRIEF

SATURDAY, M AY 6 10:00 AM – 6:30 PM

TOUR OPTION ONE

Pre-registration required

The Studio Museum in Harlem’s inHarlem Morris-Jumel Mansion The Laundromat Project’s Kelly Street Collaborative Museum of Chinese in America 10:00 AM – 5:30 PM

TOUR OPTION TWO

Pre-registration required

The Studio Museum in Harlem’s inHarlem Museum of the City of New York Mount Vernon Hotel Museum & Garden New-York Historical Society 6:00 PM – 8:00 PM

ARTIST TALK AND RECEPTION WITH WILLIAM T. WILLIAMS

Co-hosted by the MICHAEL ROSENFELD GALLERY 100 11th Ave, Manhattan, NY

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SUNDAY, M AY 7 10:00 AM – 11:30 AM

3:00 PM – 4:30 PM

AAMC MENTORSHIP PROGRAM ALUMNI RECEPTION

MEMBER TOUR OF THE WHITNEY BIENNIAL

Closed event, by invitation only

Pre-registration required

Hosted by THE EMILY HALL TREMAINE FOUNDATION & CENTER FOR ITALIAN MODERN ART

WHITNEY MUSEUM OF AMERICAN ART 99 Gansevoort St, Manhattan, NY

10:00 AM – 1:30 PM

MORNING IN LONG ISLAND CITY

Pre-registration required

Socrates Sculpture Park Mark di Suvero Studio The Isamu Noguchi Foundation & Garden Museum 1:00 PM – 4:00 PM

BOARD OF TRUSTEES MEETING & BIENNIAL TOUR Closed event, by invitation only

WHITNEY MUSEUM OF AMERICAN ART 99 Gansevoort St, Manhattan, NY

6:00 PM – 8:00 PM

AAMC & AAMC FOUNDATION AWARDS FOR EXCELLENCE RECEPTION

Event co-hosted by the INTERNATIONAL CENTER OF PHOTOGRAPHY ICP MUSEUM 250 Bowery, Manhattan, NY

Awards presentation by JENNIFER KOMAR OLIVAREZ, Head of Exhibition Planning and Strategy, Interim Curator, Purcell-Cutts House, Minneapolis Institute of Art, Awards for Excellence Committee Chair

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SCHEDULE IN BRIEF CONT ’D

MONDAY, M AY 8 THE METROPOLITAN MUSEUM OF ART Co-hosted in part by THE METROPOLITAN MUSEUM OF ART 1000 5th Ave, Manhattan, NY THE GRACE RAINEY ROGERS AUDITORIUM The Museum is open to the public from 10:00 AM – 5:00 PM.

8:00 AM – 8:45 AM

WELCOME BREAKFAST RECEPTION GREAT HALL 9:00 AM – 9:30 AM

WELCOME ADDRESS

THOMAS P. CAMPBELL, Director & CEO, The Metropolitan Museum of Art, with an introduction by HELEN C. EVANS, Mary & Michael Jaharis Curator of Byzantine Art, The Metropolitan Museum of Art; AAMC & AAMC Foundation Board of Trustees, President 9:30 AM – 10:45 AM

KEYNOTE DIALOGUE

MONICA O. MONTGOMERY, Founding Director & Curator, Museum of Impact & TANYA M. ODOM, Global Diversity & Inclusion & Education Consultant with an introduction by HELEN C. EVANS, Mary & Michael Jaharis Curator of Byzantine Art, The Metropolitan Museum of Art; AAMC & AAMC Foundation President; Board of Trustees 10:45 AM – 11:00 AM

BREAK

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11:00 AM - 12:15 PM

ACCESS, ABLEISM AND DIS/ABILITY IN CURATORIAL PRACTICE 12:30 PM - 2:45 PM

ROUNDTABLES & LUNCH RUTH AND HAROLD D. URIS CENTER FOR EDUCATION There will be two lunch sessions, each including a full roster of RoundTable discussions, 12:30PM – 1:30PM and 1:45PM – 2:45PM. Each Conference participant registered in advance for a specified time lunch slot. Please note that you will only be admitted to the lunch hour you pre-selected. At each lunch session, there will be both RoundTable and non-RoundTable seating, all on a first-come first-served basis.

Please see RoundTable topics listed within this catalogue.

12:30 PM SESSION ONE Lunch and RoundTables 1:45 PM SESSION TWO Lunch and RoundTables

3:00 PM – 3:10 PM

SHOPTALKS Art & Artefact: Yayoi Kusama at the Glass House, by IRENE SHUM, Curator & Collections Manager, Philip Johnson Glass House, National Trust for Historic Preservation Monuments in Replica: the Display of the Great Altar of Pergamon at the Met’s exhibition Pergamon and the Hellenistic Kingdoms of the Ancient World,

by KIKI KAROGLOU, Assistant Curator, Greek & Roman Art, The Metropolitan Museum of Art 3:15 PM – 4:30 PM

NAVIGATING THE WORK-LIFE BALANCE 4:45 PM – 5:30 PM

MEMBERS’ MEETING & NEW PRESIDENT WELCOME

HELEN C. EVANS, Mary & Michael Jaharis Curator of Byzantine Art, The Metropolitan Museum of Art; AAMC & AAMC Foundation President; Board of Trustees; JUDITH PINEIRO, Executive Director, AAMC & AAMC Foundation; Ex Officio; & CHRISTA CLARKE, Senior Curator, Arts of Global Africa, Newark Museum; AAMC & AAMC Foundation Board of Trustees, President-elect; Inclusion & Access Task Force Co-Leader

6:30 PM – 8:30 PM

AAMC MEMBERS’ RECEPTION Co-hosted in part by COOPER HEWITT, SMITHSONIAN DESIGN MUSEUM Sponsored by Lead Conference and Members’ Reception Sponsor, SOTHEBY’S at COOPER HEWITT, SMITHSONIAN DESIGN MUSEUM’S ARTHUR ROSS TERRACE & GARDEN East 90th Street between 5th Avenue and Madison Avenue, Manhattan, NY 7:30 PM – 9:00 PM

CIRCLE DONOR RECEPTION

Closed event, by invitation only. For more information on becoming a Circle Donor, please contact AAMC.

Hosted by the HELEN FRANKENTHALER FOUNDATION

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SCHEDULE IN BRIEF CONT ’D

TUESDAY, M AY 9 BROOKLYN MUSEUM Co-hosted in part by the BROOKLYN MUSEUM 200 Eastern Parkway, Brooklyn, NY IRIS AND B. GERALD CANTOR AUDITORIUM Museum galleries are closed and accessible only on a Curator-led tour during lunch.

8:30 AM – 9:15 AM

BREAKFAST RECEPTION BEAUX-ARTS COURT 9:30 AM – 10:00 AM

WELCOME ADDRESS

ANNE PASTERNAK, Shelby White & Leon Levy Director, Brooklyn Museum, with an introduction by HELEN C. EVANS, Mary & Michael Jaharis Curator of Byzantine Art, The Metropolitan Museum of Art; AAMC & AAMC Foundation President; Board of Trustees 10:00 AM – 11:15 AM

KEYNOTE DIALOGUE

HANK WILLIS THOMAS, Artist & DEBORAH WILLIS, University Professor and Chair of the Department of Photography & Imaging at the Tisch School of the Arts, New York University, with an introduction by HELEN C. EVANS, Mary & Michael Jaharis Curator of Byzantine Art, The Metropolitan Museum of Art; AAMC & AAMC Foundation Board of Trustees, President 11:15 AM – 11:30 AM

BREAK

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11:30 AM – 12:45 PM

FROM “REIMAGINING FEMINISM” TO “REIMAGINING THE MUSEUM”: CURATORIAL STRATEGIES FOR REVISING AND RENEWING INSTITUTIONAL HISTORIES 12:45 PM – 12:50 PM

SHOPTALK Audio-description as an Approach to the Documentation of Ephemeral Performance,

by DEVON BELLA, Director, KADIST

1:00PM – 3:00 PM

LUNCH, COMMITTEE & TASK FORCE OPEN FORUMS, & CURATOR-LED TOURS BEAUX-ARTS COURT 1:00 PM – 1:45 PM & 2:00 PM – 2:45 PM CURATOR-LED TOURS With the Museum closed to the public, please join Brooklyn Museum curators for two sessions of tours to access the Museum’s permanent collection galleries and special exhibitions. Tours will run concurrently with lunch, and are filled on a first-come first-served basis. Please see a listing of tours within this catalog.

2:00 PM – 3:00 PM COMMITTEE AND TASK FORCE OPEN FORUMS We welcome anyone to a table to share ideas and comments. From 2:00 PM – 3:00 PM, Conference attendees are welcome to learn more about AAMC & AAMC Foundation Committees by attending a Committee & Task Force Open Forum. Taking part in a table discussion does not require you to join and does not guarantee that you’ll be part of that Committee – this is an opportunity to have your voice heard and join a conversation.

3:00 PM – 4:15 PM

START WHERE YOU ARE: ACKNOWLEDGE IMPLICIT BIAS AS A FIRST STEP TOWARD MORE DIVERSE AND INCLUSIVE MUSEUM INITIATIVES 4:15 PM – 4:20 PM

SHOPTALK A Bull in a China Shop? Installing a Contemporary Time-Based Media Artwork in a Historic Decorative Arts Display,

by ROSIE MILLS, Associate Curator, Los Angeles County Museum of Art 4:20 PM – 5:35 PM

COLLECTIONS AS ASSETS FOR INCLUSIVE DIALOGUE 5:45 PM – 6:00 PM

CLOSING REMARKS

JUDITH PINEIRO, Executive Director, AAMC & AAMC Foundation; Ex Officio 6:00 PM

CONFERENCE CONCLUDES 57

ROUNDTABLES H E L D O N M O N D AY, M AY 8

Our RoundTable discussions are intended to generate conversations amongst Conference attendees by dedicating tables to assigned topics. We hope that these discussions will open dialogues that continue beyond the Conference.

There will be two lunch sessions, each including a full roster of RoundTable discussions, 12:30PM – 1:30PM and 1:45PM – 2:45PM. Each Conference participant registered for a lunch time slot in advance, and you will only be admitted to the lunch hour you preselected. At each lunch session, there will be both RoundTable and non-RoundTable seating, all on a first-come first-served basis.

NEGOTIATING FOR SAL ARY & BENEFITS SESSION ONE: CATHERINE WHITNEY, Chief Curator & Curator of American Art, Philbrook Museum of Art; AAMC & AAMC Foundation Career Support Committee SESSION TWO: ALISA LAGAMMA, Ceil & Michael E. Pulitzer Curator in Charge, Arts of Africa, Oceania, and the Americas, The Metropolitan Museum of Art

M ANAGING & MENTORING SESSION ONE: GRACE STEWART, Collections & Exhibitions Manager, Metal Museum; AAMC & AAMC Foundation Professional Development Committee; DITA AMORY, Associate Curator, Robert Lehman Collection, The Metropolitan Museum of Art SESSION TWO: LISA DORIN, Deputy Director for Curatorial Affairs/Curator of Contemporary Art, Williams College Museum of Art; AAMC & AAMC Foundation Career Support Committee

WORKING WITH NEW LE ADERSHIP SESSION ONE: THERESA PAPANIKOLAS, Curator of European & American Art, Honolulu Museum of Art; AAMC & AAMC Foundation Membership Committee SESSION TWO: MARGERY KING, Curator, American Federation of Arts; AAMC & AAMC Foundation Professional Development Committee; ADRIANA PROSER, John H. Foster Senior Curator of Traditional Asian Art, Asia Society and Museum; AAMC & AAMC Foundation Professional Development Committee

ENGAGING YOUR COMMUNIT Y IN YOUR PERM ANENT COLLEC TION SESSION ONE: TANYA PAUL, Isabel & Alfred Bader Curator of European Art, Milwaukee Art Museum; AAMC & AAMC Foundation Career Support Committee; BETH CITRON, Curator, Modern & Contemporary Art, Rubin Museum of Art; AAMC & AAMC Foundation Professional Development Committee Co-Chair SESSION TWO: CATHERINE L. FUTTER, Director of Curatorial Affairs, The Nelson Atkins Museum of Art; AAMC & AAMC Foundation Board of Trustees, Vice President, Communications; Marketing & Communications Committee Co-Chair

ADVOCATING FOR YOUR PROJEC T SESSION ONE: CHRISTA CLARKE, Senior Curator, Arts of Global Africa, Newark Museum; AAMC & AAMC Foundation President-elect, Board of Trustees; Inclusion & Access Task Force Co-Leader; MARY-KAY LOMBINO, The Emily Hargroves Fisher ‘58 & Richard B. Fisher Curator & Assistant Director, The Frances Lehman Loeb Art Center, Vassar College; AAMC & AAMC Foundation Career Support Committee Co-Chair SESSION TWO: JULIE PIEROTTI, Martha R. Robinson Curator, Dixon Gallery and Gardens; AAMC & AAMC Foundation Membership Committee; TRINITA KENNEDY, Curator, Frist Center for the Visual Arts; AAMC & AAMC Foundation Professional Development Committee

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MUSEUM AS RESOURCE IN ACADEMIC SET TINGS

SESSION ONE: ELIZABETH A. WILLIAMS, David & Peggy Rockefeller Curator of Decorative Arts and Design, Museum of Art, Rhode Island School of Design; AAMC & AAMC Foundation Career Support Committee SESSION TWO: ROBIN L. CLARK, Director of the Artist Initiative, San Francisco Museum of Modern Art; AAMC & AAMC Foundation Career Support Committee

BEST PRAC TICES IN UTILIZING HISTORIC ARCHIVES SESSION ONE: DANIEL BELASCO, Curator, Samuel Dorsky Museum of Art; AAMC & AAMC Foundation Career Support Committee SESSION TWO: KIKI KAROGLOU, Assistant Curator, Greek & Roman Art, The Metropolitan Museum of Art; PAULA RICHTER, Curator for Exhibitions and Research, Peabody Essex Museum; AAMC & AAMC Foundation Career Support Committee

TRAVELING EXHIBITIONS SESSION ONE: MICHELLE HARGRAVE, Deputy Director, New Britain Museum of American Art; AAMC & AAMC Foundation Board of Trustees, Membership Committee Co-Chair; MARK SCALA, Chief Curator, Frist Center for Visual Art; AAMC & AAMC Foundation Governance & Nominating Committee Co-Chair SESSION TWO: P. ANDREW SPAHR, Director of Collections & Exhibitions, Currier Museum of Art; Membership Committee; GEORGIANA UHLYARIK, Associate Curator, Canadian Art, Art Gallery of Ontario; AAMC & AAMC Foundation Board of Trustees, Vice President, Governance; Governance & Nominating Committee Co-Chair; Advocacy Task Force Member

SM ALL BUDGET EXHIBITIONS WITHOUT CATALOGS SESSION ONE: MICHELLE JACQUES, Chief Curator, Art Gallery of Greater Victoria; AAMC & AAMC Foundation Board of Trustees, Career Support Committee Co-Chair SESSION TWO: KLAUDIO RODRIGUEZ, Curator, The Patricia & Phillip Frost Art Museum, Florida International University; AAMC & AAMC Foundation Career Support Committee

LOANS ACROSS BORDERS SESSION ONE: ANDREA BAYER, Jayne Wrightsman Curator, European Paintings, The Metropolitan Museum of Art SESSION TWO: ROCIO ARANDA-ALVARADO, Senior Curator, El Museo del Barrio; AAMC & AAMC Foundation Membership Committee Co-Chair 59

COMMIT TEE & TA SK FORCE OPEN FORUMS & CUR ATOR-LED TOURS H E L D O N T U E S D AY, M AY 9

COMMIT TEE & TA SK FORCE OPEN FORUMS

CUR ATOR-LED TOURS

2:00 PM – 3:00 PM

1:00 PM – 1:45 PM & 2:00 PM – 2:45 PM

From 2:00 PM – 3:00 PM, Conference attendees are welcome to learn more about AAMC & AAMC Foundation Committees by attending a Committee & Task Force Open Forum. Taking part in a table discussion does not require you to join and does not guarantee that you’ll be part of that Committee – this is an opportunity to have your voice heard, share ideas, and join a conversation amongst peers.

With the Museum closed to the public, please join Brooklyn Museum curators for two sessions of tours to access the Museum’s permanent collection galleries and special exhibitions. Tours will run concurrently with lunch, and are filled on a first-come first-served basis. As a reminder, the Museum’s galleries are closed and you can only access them through a curator-led visit.

COMMIT TEES & TASK FORCES

CURATOR-LED TOURS SESSION 1

AWARDS FOR EXCELLENCE COMMIT TEE

1:00 PM – 1:45 PM

CAREER SUPPORT COMMIT TEE CONFERENCE COMMIT TEE FINANCE, FUNDRAISING & AUDIT COMMIT TEE GOVERNANCE & NOMINATING COMMIT TEE MARKETING & COMMUNICATIONS COMMITTEE MEMBERSHIP COMMIT TEE PROFESSIONAL DEVELOPMENT COMMIT TEE ADVOCACY TASK FORCE INCLUSION & ACCESS TASK FORCE

CURATOR-LED TOURS SESSION 2 2:00 PM – 2:45 PM

KIMBERLY ORCUTT, Andrew W. Mellon Curator of American Art tour of the American Art Galleries EDWARD BLEIBERG, Senior Curator Egyptian Art tours of Ancient Egyptian Art Galleries (1:00PM only) Woman’s Afterlife: Gender Transformation in Ancient Egypt (2:00PM only) BARRY HARWOOD, Curator, Decorative Arts tour of the Decorative Arts & the Period Rooms CARMEN HERMO, Assistant Curator, Elizabeth A. Sackler Center for Feminist Art tour of The Dinner Party by Judy Chicago LISA SMALL, Senior Curator of European Art tour of Georgia O’Keeffe: Living Modern JOAN CUMMINS, Lisa and Bernard Selz Senior Curator tour of Infinite Blue NANCY ROSOFF, Andrew W. Mellon Senior Curator, Arts of the Americas tour of Life, Death, and Transformation in the Americas CATHERINE MORRIS, Sackler Family Senior Curator, Elizabeth A. Sackler Center for Feminist Art tour of We Wanted a Revolution: Black Radical Women, 1965–85

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CONFERENCE SESSION DETAIL S S E S S I O N S A R E L I S T E D I N O R D E R O F T H E I R P R E S E N TAT I O N AT T H E C O N F E R E N C E .

ACCESS, ABLEISM AND DIS/ABILITY IN CURATORIAL PRACTICE

NAVIGATING THE WORK-LIFE BAL ANCE

Why is it important for curators to think about disability aesthetics? This session will discuss the dynamics surrounding curatorial access in museums and galleries, with respect to policy, audience needs/interests, artist-curator relationships, and everyday physical and material concerns. In the past five years, the art world has seen a rising interest in considering the work of disability arts-based subject matter, in both theory and praxis. In the museum and gallery system, the critical consideration of access has always been, and continues to remain important, but the needs of visitors with physical, cognitive and sensory disabilities often occupies a narrow bandwidth of attention by most museum and cultural workers. How does one incorporate the material, conceptual, sensorial and political discourse of diverse bodies into a larger museum infrastructure, especially through a curatorial lens? What are our working and utopian definitions of diversity, and how can access embrace multiple modalities in order to benefit a greater variety of audience and artist? The idea is to also focus on examples of how curators have approached curating disability aesthetics – what style did they use, what thematics? What have we seen lately that worked and did not work? Does curatorial intention matter? What about the identity or the politics of the curator – how important is this, why/why not? Is it important to expose and train curators and other arts administrators within the realm of disability aesthetics? Do certain physical and spatial environments and cultural contexts lend themselves more to curating disability aesthetics? Why/why not? The panelists will discuss these questions and more in relation to their own professional experiences and relationships to access.

Balancing work and “life” is a perennial problem in our culture, and can be particularly complicated for those in our field. In addition to the demands of our large workloads, curators must often attend evening and weekend events, and cultivate relationships with patrons that can bleed into personal time. Because of the scarcity of positions in the field, we must often go where the job is, and frequent moves can also disrupt our personal lives.

While these issues can seem particularly challenging for those with young children, they affect everyone, and can infringe on such commitments as: spending time with partners, socializing with friends, dating, caring for aging parents, pursuing “extracurricular” passions and hobbies, and other important aspects of personal life.

This panel will address ways of constructively handling these challenges, including managing time and workload, setting boundaries, setting goals, and finding support. In the first half of the session, panelists will share their thoughts on and experiences with balancing work and life.

MO D ER ATO R/O RG A NIZER ALEXANDRA SCHWARTZ, Independent Curator

PA NEL I S T S TOBIAS OSTRANDER, Chief Curator & Deputy Director for Curatorial Affairs, Pérez Art Museum NANCY SPECTOR, Artistic Director & Chief Curator, Solomon R. Guggenheim Museum YAO-FEN YOU, Associate Curator of European Sculpture & Decorative Arts, The Detroit Institute of Arts

MO D ER ATO R/O RG A NIZER AMANDA CACHIA, Independent Curator

PA NEL I S T S ELIZA CHANDLER, Assistant Professor, School of Disability Studies, Ryerson University FRANCESCA ROSENBERG, Director, Community, Access & School Programs, Museum of Modern Art DANIELLE LINZER, Curator of Education & Interpretation, The Andy Warhol Museum

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CONFERENCE SESSION DETAIL S CONT ’D

FROM “REIMAGINING FEMINISM” TO “REIMAGINING THE MUSEUM”: CURATORIAL STRATEGIES FOR REVISING AND RENEWING INSTITUTIONAL HISTORIES In recent years, museums have become increasingly self-reflexive, employing strategies of institutional critique in permanent collection re-installations, gap-filling acquisitions, expanded programming, and the incorporation of archival and performative work. These efforts have a historical basis in critical tactics developed by second wave feminist artists and art historians of the 1960s–80s, who questioned dominant narratives to redress historical-canonical biases. These achievements, however, were often limited by the history second wave feminism worked within: one that was largely Euro-centric, classist, and seemingly unaware of its own biases. Recent scholarship questioning the limits of that revisionism has prompted the promotion of artists working outside even the margins, charging museums to recognize their part in the politics of inclusion and exclusion.

To confront the cultural elitism and socioeconomic privilege upon which most major collecting institutions were founded (and continue to receive support), the onus of political positioning shifts from the artist to an institution’s own identity or mission.

Curators at the forefront of expanding conversations about institutional histories will discuss their respective approaches to destabilizing the canon, and debate the strategies and challenges of revisionist projects. To create a working understanding of the possibilities and pitfalls of these endeavors today, panelists will discuss: Are feminist curatorial strategies useful; if so, in what ways? How should museums engage the critiques of the public and of artists? Have revisions to collections or programs truly changed the public perception of a museum, or museums in general?

O RG A NIZER CARMEN HERMO, Assistant Curator, Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum

MO D ER ATO R CATHERINE MORRIS, Sackler Family Senior Curator, Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum

PA NEL I S T S CONNIE BUTLER, Chief Curator, Hammer Museum NAOMI BECKWITH, Marilyn and Larry Fields Curator, Museum of Contemporary Art, Chicago JENNI SORKIN, Assistant Professor, Contemporary Art History, University of California, Santa Barbara

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START WHERE YOU ARE: ACKNOWLEDGE IMPLICIT BIAS AS A FIRST STEP TOWARD MORE DIVERSE AND INCLUSIVE MUSEUM INITIATIVES This panel will address the elephant in the room—implicit bias—that impacts museums on multiple levels, from staff hires, acquisition selections, exhibition approvals and funding, to the metrics of grant writing and language of label interpretation and audience engagement.

Implicit bias arises when a homogenous group of people are in significant positions of power over institutions such that their collective bias provides them with advantages while outgroup members are adversely affected.

Panelists will discuss how implicit bias impacts organizational decision-making and concrete steps taken to break the cycle. Efforts toward changing internal conversation and culture can be taken in museums of any budget or scale, and can begin with each of us when we learn to recognize and change our own behaviors as art museum curators. Change can ultimately impact not only workplace culture, but also scholarship, visitor impressions, and community standing.

MO D ER ATO R/O RG A NIZER TULIZA FLEMING, Museum Curator, National Museum of African American History & Culture, Smithsonian Institution; AAMC & AAMC Foundation Conference Committee

PA NEL I S T S NANCY BERCAW, Museum Curator, National Museum of African American History and Culture, Smithsonian Institution BRYANT T. MARKS, Executive Director, Program for Research on Black Male Achievement, Associate Professor, Department of Psychology, Morehouse College

COLLECTIONS AS ASSETS FOR INCLUSIVE DIALOGUE An art museum’s permanent collection is its heart and ostensibly its most cherished asset.

Whether paintings, sculptures, decorative arts, or historic structures, curators are tasked with caring for and interpreting the objects belonging to their institutions for a wide range of patrons.

Too often, however, museums have not evolved at the same pace as their visitors in interpreting their works and spaces. While many institutions have made strides to embrace social and political movements or to develop more inclusive ways to interpret objects, such efforts often take years or decades to permeate into permanent collection installations. This panel addresses the pressing need for museums of all sizes to interpret their permanent collections with an eye towards inclusion. The selected group of panelists are curators who are making important strides in fashioning galleries and period rooms that speak to wider publics.

Each curator has approached his/her institution’s works and spaces as important assets to promote inclusion and audience engagement. This panel gathers curators from across the country at museums of various sizes who are or have recently spearheaded reinstallation projects ranging from single galleries to institution-wide initiatives. The panel will discuss the motivations behind this type of work. How did these projects emerge, and what groups both within and without the museum are stakeholders in how they develop?

How do these initiatives provide new context to well-known works on display or highlight objects and spaces that typically have not been on view? How did such projects emerge as institutional priorities?

MO D ER ATO R/O RG A NIZER DIANA JOCELYN GREENWOLD, Associate Curator of American Art, Portland Museum of Art JENNIFER KOMAR OLIVAREZ, Head of Exhibition Planning & Strategy, Interim Curator, Purcell-Cutts House, Minneapolis Institute of Arts; AAMC & AAMC Foundation Awards for Excellence Committee Chair

PA NEL I S T S SCOTT ERBES, Curator of Decorative Arts & Design, The Speed Art Museum PAMELA Z. MCCLUSKY, Curator of African & Oceanic Art, Seattle Art Museum

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WEEKEND AC TIVIT Y DETAIL S

SATURDAY, M AY 7 10:00 AM – 6:30 PM TOUR OPTION 1 Pre-registration required.

THE STUDIO MUSEUM IN HARLEM’S INHARLEM Tour The Studio Museum in Harlem’s inHarlem with HALLIE RINGLE, Assistant Curator. inHarlem, a new set of initiatives designed to explore dynamic ways to work in the community and take the Studio Museum beyond its walls, encompasses a wide range of artistic and programmatic ventures, from site-specific artists’ projects to collaborative presentations with civic and cultural partners in the Harlem neighborhood. The first inHarlem projects are specially commissioned sculptural works by artists Kevin Beasley, Simone Leigh, Kori Newkirk and Rudy Shepherd, to be realized in Morningside Park, Marcus Garvey Park, St. Nicholas Park and Jackie Robinson Park, respectively. The groups will tour two installation sites, to be followed by lunch at The Studio Museum in Harlem.

MORRIS-JUMEL MANSION CAROL WARD, Executive Director, will lead members on a tour of the Morris-Jumel Mansion, the oldest remaining house in Manhattan, built in 1765, and its museum, which catalogs over 200 years of New York history, art, and culture. Ward will also lead the group on a tour through the Mansion’s period rooms, usually not accessible to the public. Through historic site tours and education programs, the museum interprets the Mansion in the context of domestic life in New York City from 1765 until 1865, the influx of European immigrants to Washington Heights in the late 1800s, the City Beautiful movement at the turn of the century, the life of the Jumel Terrace Historic District, and more recent immigration.

THE LAUNDROMAT PROJECT’S KELLY STREET COLLABORATIVE Join KEMI ILESANMI, Executive Director & HATUEY RAMOS-FERMIN, Director of Programs & Community Engagement, for an introduction to The Laundromat Project (The LP), and the Kelly Street Collaborative.

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In partnership with Workforce Housing Group, Kelly Street Garden, and Banana Kelly Community Improvement Association, The LP has transformed a two-bedroom apartment on historic Kelly Street in the South Bronx into a thriving creative community hub, with artist studios, arts programming, and community partnerships that allow The LP to engage the larger Kelly Street community. The LP’s mission is to amplify the creativity that already exists within communities by using arts and culture to build community networks, solve problems, and enhance our sense of ownership in the places where we live, work, and grow.

MUSEUM OF CHINESE IN AMERICA Founded in 1980, the Museum of Chinese in America (MOCA) is dedicated to preserving and presenting the history, heritage, culture and diverse experiences of people of Chinese descent in the U.S., ANDREW REBATTA, Assistant Curator, will lead members through the special exhibition Sour, Sweet, Bitter, Spicy: Stories of Chinese Food and Identity in America.

Sour, Sweet, Bitter, Spicy weaves together complex stories through a dynamic video installation featuring pioneering chefs such as Cecilia Chiang, Ken Hom, Anita Lo, Ming Tsai, and Martin Yan; new restaurateurs like Peter Chang, Vivian Ku, and Danny Bowien; and persevering home cooks like Biying Ni, Yvette Lee and Ho-chin Yang. In Chinese the saying Sour, Sweet, Bitter, Spicy refers not only to the delicate balance of flavors that defines Chinese cooking but also the ups and downs of life.

Set in an immersive video installation, the tapestry of tales that emerges will be rich with immigration experiences, food memories, favorite dishes and cooking inspirations that define the culinary—and personal—identities of these chefs, drawing visitors into the middle of a conversation about how food defines Chinese in America. In the center of the gallery will be a monumental dinner table, with each chef represented by personally selected artifacts from their kitchens and place settings featuring unique ceramic vessels that will link cooking styles to regional culinary traditions.

10:00 AM – 5:30 PM TOUR OPTION 2 Pre-registration required.

THE STUDIO MUSEUM IN HARLEM’S INHARLEM Tour The Studio Museum in Harlem’s inHarlem with HALLIE RINGLE, Assistant Curator. inHarlem, a new set of initiatives designed to explore dynamic ways to work in the community and take the Studio Museum beyond its walls, encompasses a wide range of artistic and programmatic ventures, from site-specific artists’ projects to collaborative presentations with civic and cultural partners in the Harlem neighborhood. The first inHarlem projects are specially commissioned sculptural works by artists Kevin Beasley, Simone Leigh, Kori Newkirk and Rudy Shepherd, to be realized in Morningside Park, Marcus Garvey Park, St. Nicholas Park and Jackie Robinson Park, respectively. The groups will tour two installation sites, to be followed by lunch at The Studio Museum in Harlem.

MUSEUM OF THE CITY OF NEW YORK The Museum of the City of New York celebrates and interprets the city, educating the public about its distinctive character, especially its heritage of diversity, opportunity, and perpetual transformation.

Founded in 1923 as a private, nonprofit corporation, the Museum connects the past, present, and future of New York City. Join Chief Curator SARAH HENRY for a tour of New York at Its Core, the Museum’s new permanent exhibition. Through historic objects and images, contemporary video, photography, and interactive digital experiences, dive deep into the city’s 400-year past and create your own visions for its future in the Future City Lab. MOUNT VERNON HOTEL MUSEUM & GARDEN RUTH OSBORNE, Curator, will provide a behind-thescenes commentary on the Museum’s collection, which preserves and interprets travel, leisure, work and play in diverse antebellum New York.

Built in 1799, the Museum building and garden are presented as the Mount Vernon Hotel, which served day customers and travelers from 1826 to 1833. This fashionable country resort was popular among New Yorkers who wished to escape the hustle and bustle of the city which at that time extended only as far north as 14th Street. The Hotel advertised itself as “free from the noise and dust of the public roads, and fitted up and intended for only the most genteel and respectable” clientele. In those days, one could take the stagecoach or steamboat up to 61st Street and spend the day at the hotel sipping lemonade in the ladies’ parlor or playing cards in the gentlemen’s tavern. The building endures as a rare reminder of an important era in New York City’s history.

NEW-YORK HISTORICAL SOCIETY The New-York Historical Society, one of America’s preeminent cultural institutions, is dedicated to fostering research and presenting history and art exhibitions that reveal the dynamism of history and its influence on the world of today. MARGARET K. HOFER, Vice President & Museum Director, will lead members on a tour of the recently reinstalled permanent collection and the new Gallery of Tiffany Lamps, a 3,000-squarefoot jewel box space designed by Czech architect

Eva Jiricna to display 100 lamps. Founded in 1804, New-York Historical has a mission to explore the richly layered political, cultural and social history of New York City and State and the nation, and to serve as a national forum for the discussion of issues surrounding the making and meaning of history.

6:00 PM – 8:00 PM ARTIST TALK AND RECEPTION WITH WILLIAM T. WILLIAMS Co-hosted by Michael Rosenfeld Gallery 100 11th Avenue, New York, NY 10011

Join Michael Rosenfeld Gallery and artist William T. Williams for a reception and artist-led gallery discussion of Things Unknown, a survey of Williams’ painting from 1968 to 2008 and Williams’ first gallery exhibition since the 1970s. The exhibition will trace the artist’s devotion to abstraction; work ranges in style from early geometric abstractions, to almostmonochromatic explorations of texture, to an abstraction that derives its force from productive tension among colors and forms. A master of brushwork and color, Williams creates his paintings in series, working through a labor-intensive process that often includes drawings, watercolors, and prints.

SUNDAY, M AY 8 10:00 AM – 11:30 AM MENTORSHIP PROGRAM ALUMNI RECEPTION HOSTED BY THE EMILY HALL TREMAINE FOUNDATION & CENTER FOR ITALIAN MODERN ART By invitation only.

Join program alumni and AAMC & AAMC Foundation Board members for a celebration of the Mentorship Program hosted by The Emily Hall Tremaine Foundation & the Center for Italian Modern Art. The Center for Italian Modern Art (CIMA), founded in 2013, is a 501(c)(3) non-profit research and exhibition center that promotes scholarship and advances public appreciation of modern and contemporary Italian art in the U.S. and internationally. Through research fellowships, annual exhibitions, and dynamic public programs, CIMA deepens public awareness of 20thcentury Italian art, fosters cultural exchange among scholars and art historians from around the world, and serves as an incubator for new discourse and understanding of modern and contemporary Italian art and its enduring legacy. Presented within an elegant SoHo loft, CIMA’s exhibitions invite visitors to have intimate experiences with great works of art rarely presented in the U.S. CIMA is now celebrating its fourth season, following ones devoted to Fortunato Depero, Medardo Rosso, and Giorgio Morandi.

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WEEKEND AC TIVIT Y DETAIL S CONT ’D

11:00 AM – 1:30 PM MORNING IN LONG ISLAND CITY Pre-registration required.

SOCRATES SCULPTURE PARK JESS WILCOX, Director of Exhibitions, will lead members on a tour of Nari Ward: G.O.A.T., again, an exhibition of newly commissioned works that expand on the artist’s exploration of social mobility, the performance of identity, belonging, and greatness.

Ward recasts tropes of outdoors structures – the monument, the playground, lawn ornaments, the architectural barricade, and the advertising sign – into surreal and playful creations. Socrates Sculpture Park is the only site in the New York Metropolitan area specifically dedicated to providing artists with opportunities to create and exhibit large-scale sculpture and multi-media installations in a unique outdoor environment that encourages strong interaction between artists, artworks and the public. The park’s existence is based on the belief that reclamation, revitalization and creative expression are essential to the survival, humanity and improvement of our urban environment.

MARK DI SUVERO STUDIO Tour the studio of internationally renowned sculptor Mark di Suvero, one of the most important American artists to emerge from the Abstract Expressionist era, and a pioneer in the use of steel. Mark di Suvero’s architectural-scale sculptures – many with moving elements that invite viewer participation – have been exhibited in the U.S., France, the Netherlands, Italy, Spain, Germany, Australia, Japan and the United Kingdom. His studio is adjacent to Socrates Sculpture Park, which he established in 1986 on the site of a former landfill, working with a coalition of artists and community members to create open studio and exhibition spaces.

THE ISAMU NOGUCHI FOUNDATION AND GARDEN MUSEUM Join DAKIN HART, Senior Curator, for a tour of The Isamu Noguchi Foundation and Garden Museum’s Self-Interned, 1942: Noguchi in Poston War Relocation Center. This exhibition explores Noguchi’s extraordinary decision – despite being exempt from internment as a resident of New York – to enter the Poston War Relocation Center, in the Arizona desert, hoping to contribute something positive to this forcibly displaced community, to which he had never felt more connected. Curated by Hart, SelfInterned, 1942 brings together about two dozen works from the Museum’s collection, dating from before, during, and after Noguchi’s time at Poston, along with a substantial selection of archival documents.

Together these evoke this harrowing moment in the history of American democracy, while revealing the impact that his experience at Poston had on Noguchi’s art. Founded and built by internationally renowned Japanese-American artist Isamu Noguchi (1904–1988) for the display of what he considered to be representative examples of his life’s work, The Noguchi Museum is an open-air sculpture garden ensconced within a building that houses ten galleries.

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3:00 PM – 4:30 PM TOUR OF THE WHITNEY BIENNIAL

WHITNEY MUSEUM OF AMERICAN ART Pre-registration required.

Enjoy a private members-only tour of Whitney Biennial 2017 with a Whitney Teaching Fellow.

Curated by Christopher Y. Lew and AAMC member Mia Locks, the seventy-eighth edition of the survey of contemporary art in the U.S. is the first to be presented in the Whitney’s new building in Manhattan’s Meatpacking District.

6:00 PM – 8:00 PM AAMC & AAMC FOUNDATION AWARDS FOR EXCELLENCE RECEPTION Co-hosted in part by the International Center of Photography

ICP MUSEUM Welcome remarks from our co-host Mark Lubell, Executive Director, International Center of Photography.

Open to AAMC members and special guests. Galleries will be open until 8:00PM. Join us for our Awards for Excellence Celebration, where we will toast this year’s Award recipients.

MARK LUBELL, Executive Director of the International Center of Photography, will welcome the group to the Center’s new facility, which opened in June of 2016. 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.

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SPE AKER, PANELIST & PRESENTER BIOGR APHIES Listed alphabetically

NAOMI BECKWITH, Marilyn and Larry Fields Curator, Museum of Contemporary Art Chicago Naomi Beckwith is the Marilyn and Larry Fields Curator at the Museum of Contemporary Art Chicago, where her exhibition and book projects focus on the impact of identity and multi-disciplinary practices for shaping contemporary art. Prior to the MCA, Beckwith held positions at the Institute of Contemporary Art in Philadelphia and the Studio Museum in Harlem where she also managed the Artists-in-Residence program. Her numerous exhibitions include The Freedom Principle: Experiments in Art and Music, 1965 to Now and 30 Seconds off an Inch, both considering the persistent resonance of black cultural practices across contemporary art internationally. Her professional work and writings have been featured in Artforum International, Frieze, Art in America, The New York Times, The Chicago Tribune, Flash Art, Apollo, T Magazine, W Magazine and Ebony Magazine. Beckwith holds an MA with Distinction from the Courtauld Institute of Art in London and was a Critical Studies Fellow at the Whitney Museum Independent Study Program.

Beckwith has been a grantee of the Andy Warhol Foundation for the Visual Arts and a 2015 recipient of the New Leadership awardee for ArtTable where she is also a trustee.

DEVON BELLA, Director, KADIST Devon R. Bella holds a master of arts in exhibition and museum studies from the San Francisco Art Institute.

She is currently the director of KADIST (San Francisco) and has previously worked as a lead archivist in the Special Collections Department at the Getty Research Institute (Los Angeles). Devon’s curatorial practice aims to advance existing paradigms for interpreting and engaging with artwork by facilitating close-readings and discursive reflections. A recent project includes Hands On, a long-term collaborative inquiry into the cultural history, social politics and radical potential of tactile perception involving haptic encounters with artwork in the KADIST collection.

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NANCY BERCAW, Museum Curator, National Museum of African American History and Culture, Smithsonian Institution Nancy Bercaw is a Museum Curator at the Smithsonian’s National Museum of African American History and Culture where she co-curated the permanent exhibition on “Slavery and Freedom”.

Before coming to the Smithsonian, Nancy was an Associate Professor of History and Southern Studies at the University of Mississippi and served as the Chair of the University’s Commission on the Status of Women. She is the author and editor of several volumes regarding race, gender, and American culture including Gendered Freedoms: Race, Rights, and the Politics of Household in the Civil War Delta; the Gender volume of The New Encyclopedia of Southern Culture on Gender; and Gender and the Southern Body Politic. Her current research examines museum collections and the reconstruction of race. She is a graduate of Oberlin College and holds a PhD in American Civilization from the University of Pennsylvania.

CONNIE BUTLER, Chief Curator, Hammer Museum Connie Butler has served as the Hammer Museum’s Chief Curator since July 2013. She oversees the Hammer’s curatorial department—developing and organizing exhibitions and building the Hammer Contemporary Collection. Her exhibition Marisa Merz: The Sky is a Great Space opens at The Met Breuer in January 2017 and opens at the Hammer in May 2017.

Most recently she curated Scorched Earth (2015), an exhibition with the Los Angeles artist Mark Bradford, and she cocurated the 2014 edition of the Hammer’s biennial exhibition, Made in L.A. Previously Butler was the Robert Lehman Foundation Chief Curator of Drawings at the Museum of Modern Art, New York, (2006–13) where she cocurated the first major Lygia Clark retrospective in North America and co-organized the exhibitions Alina Szapocznikow: Sculpture Undone, 1955–1972 (2011) and On Line: Drawing through the Twentieth Century (2010). She was the coeditor of Modern Women: Women Artists at the Museum of Modern Art, an important study now in its second printing. Butler curated the groundbreaking exhibition WACK! Art and the Feminist Revolution for the Museum of Contemporary Art, Los Angeles, where she was curator from 1996 to 2006.

AMANDA CACHIA, Independent Curator Amanda Cachia is an independent curator from Sydney, Australia and is currently a PhD candidate in Art History, Theory & Criticism at the University of California, San Diego. In the 2016–2017 academic year, she is serving as a Lecturer at the University of California Los Angeles, California Institute of the Arts, and Southwestern College. Cachia completed her second Masters degree in Visual & Critical Studies at the California College of the Arts (CCA) in San Francisco in 2012, and received her first Masters in Creative Curating from Goldsmiths College, University of London in 2001. She held the position Director/Curator of the Dunlop Art Gallery in Regina, Saskatchewan, Canada from 2007–2010, and has curated approximately 40 exhibitions over the last 20 years in various cities across the U.S., England, Australia and Canada. Her critical writing has been published in the Routledge anthology, Disability and Art History, in addition to numerous exhibition catalogues and art journals including Artforum, CAA Reviews, Canadian Art, Art Monthly Australia and On Curating, and peer-reviewed academic journals such as Design and Culture, Journal of Literary and Cultural Disability Studies, Journal of Visual Art Practice, Museums and Social Issues, and The Senses and Society. Cachia has served as a Visiting Critic for the International Studio and Curatorial Program (ISCP) in NYC, and as a panelist for the Rubin Foundation in New York, National Endowment for the Arts (NEA) Art Works grant and Canada Council for the Arts.

THOMAS P. CAMPBELL, Director & CEO, The Metropolitan Museum of Art

ELIZA CHANDLER, Assistant Professor, School of Disability Studies, Ryerson University Earning her PhD from the Social Justice and Education department at the University of Toronto in 2014, Eliza Chandler was dually appointed as the Artistic Director at Tangled Art + Disability, an organization in Toronto dedicated to the cultivation of disability arts, and the postdoctoral research fellow in Ryerson University’s School of Disability Studies from 2014–2016. During this time she was also the founding Artistic Director of Tangled Art Gallery, Canada’s first art gallery dedicated to showcasing disability art and advancing accessible curatorial practice. Chandler is currently an Assistant Professor in the School of Disability Studies at Ryerson University. She is the co-director of a Social Sciences and Humanities Research Council (SSHRC)funded partnership project, Bodies in Translation: Activist Art, Technology, and Access to Life. This sevenyear, multi-partnered research project considers the close relationship between art, accessibility, and social change as it contributes to the development of activist art, aesthetics, curriculum, and accessible curatorial practices across Canada. Chandler is the codirector of the disability arts community group Project Creative Users, serves on the Ontario Arts Council Deaf and Disability Art Advisory Board, and is a practicing disability artist and curator. She recently curated the exhibition Constructed Identities by Persimmon Blackbridge at the Tangled Art Gallery and her most recent publication is Pedagogical Possibilities for Unruly Bodies (2016). Chandler regularly give lectures, interviews, and consultations related to disability arts, accessible curatorial practices, and disability politics in Canada.

Since becoming the ninth director of The Met in 2009, Tom Campbell has pursued a groundbreaking agenda for the Museum that focuses on scholarship and accessibility. He has maintained the Museum’s excellence in its collections, galleries, exhibitions, and publications, while encouraging new thinking about both the visitor experience and The Met’s awardwinning digital presence. Under Campbell’s tenure, the Museum’s main building has been transformed by new galleries for Islamic and American art, The Costume Institute, and European Paintings, while the renovation of the Fifth Avenue plaza reinvigorated the Met’s exterior. Campbell is also strengthening the Museum’s engagement with modern and contemporary art, including the 2013 landmark gift of Leonard Lauder’s collection of Cubist art and the opening of The Met Breuer in March 2016. Campbell has also encouraged a fresh approach to performance at The Met, allowing artists of all kinds to respond to and reflect on the collection. Prior to his appointment, Campbell was a curator in The Met’s Department of European Sculpture and Decorative Arts for fourteen years where he organized two major exhibitions on Renaissance and Baroque tapestry.

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SPE AKER, PANELIST & PRESENTER BIOGR APHIES CONT ’D

CHRISTA CLARKE, Senior Curator, Arts of Global Africa, Newark Museum; AAMC & AAMC Foundation Board of Trustees, President-elect; Inclusion & Access Task Force Co-Leader Christa Clarke is Senior Curator, Arts of Global Africa, at the Newark Museum. Since her appointment in 2002, she has pioneered Newark’s collecting of modern and contemporary arts of Africa, building upon its important collection of historic art. Clarke has also organized numerous exhibitions, ranging from men’s fashion to Nigerian modernism. Her scholarship on the history of collecting and display and the politics of representation includes Representing Africa in American Art Museums: A Century of Collecting and Display (coedited with Kathleen Berzock; 2010) and African Art in the Barnes Foundation (2015), which received the James A. Porter and David C. Driskell Book Award for African American Art History and a First Place Award for Excellence from the AAMC in 2016.

Clarke has held fellowships at the Smithsonian, the Metropolitan Museum of Art, and the Clark Art Institute, and teaching appointments at NYU Abu Dhabi, University of Pennsylvania, George Washington University, Rutgers University, Purchase College, and Drew University. An involved member of the AAMC since its founding, Clarke served on the AAMC’s Committee on Professional Standards (2003–2007) and chaired the Membership Committee (2009–2011).

In 2012, she joined the Board of Trustees, serving on the Executive Committee as Vice President of Programs from 2013-2016 and since 2015, as co-leader of the Inclusion & Access Task Force. Clarke was also a fellow at the Center for Curatorial Leadership in 2012. She received her BA from the University of Virginia and MA and PhD in Art History from the University of Maryland.

SCOTT ERBES, Curator of Decorative Arts and Design, The Speed Art Museum A graduate of the Winterthur Program in American Material Culture, Scott began his career in 1990 at the 70

Nelson-Atkins Museum of Art. He joined the Speed Art museum in 1999 as the museum’s first curator of decorative arts and design for a collection that ranges from late medieval to contemporary. Scott’s areas of interest include antebellum Kentucky decorative arts, the English and American Arts and Crafts movements, and the intersection of art and industry in eighteenthcentury England.

Scott served as one of the Speed’s interim directors from October 2012 through August 2013 before becoming chief curator in September 2013. In this capacity, he led the curatorial team during the museum’s $50 million expansion and renovation project (2012–2016). During the project, Scott oversaw the creation of a satellite gallery, directed concept development and gallery design for reinstallation, and recruited multiple additions to the Speed’s curatorial team including the curator of European and American painting and sculpture, the curator of contemporary art, and the curator of film. After developing a succession plan, Scott stepped away from his role as chief curator in January 2017 to begin work on several exhibition projects.

Scott’s Kentucky-oriented work includes the ideation and design of a new 5,600-square-foot Kentucky gallery for the Speed’s expansion and renovation project. He also developed and launched the Kentucky Online Arts Resource (www.koar.org), an online image database devoted to Kentucky’s artistic heritage.

He was project director for the 2007 exhibition For Safekeeping: The Kentucky Sugar Chest, 1790-1850 and curated the 2011 exhibition, Kentucky Antiques from the Noe Collection: A Gift to the Commonwealth.

Other exhibitions and installations include English Silver in the Age of Matthew Boulton: The James C. Codell, Jr., Collection (2009), Modern in the Making: Design 1900-2000 (2010), Quilts from Kentucky and Beyond: The Bingham-Miller Family Collection (2011), and Teatime Chic: Ceramics, 1900-1960 (2015).

HELEN C. EVANS, Mary & Michael Jaharis Curator for Byzantine Art, The Metropolitan Museum of Art; AAMC & AAMC Foundation 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. She heads rotating small exhibitions on Byzantine Egyptian (Coptic) art in the galleries and is working on an exhibition on Armenian art for fall 2018.

TULIZA FLEMING, Museum Curator, National Museum of African American History and Culture, Smithsonian Institution; AAMC & AAMC Foundation Conference Committee Dr. Tuliza Fleming is a Museum Curator at the National Museum of African American History and Culture (NMAAHC), Smithsonian Institution. She received her MA and PhD in American art history from the University of Maryland, College Park (1997 and 2007), and her B.A. from Spelman College (1994). During her tenure at the NMAAHC, she worked to build the museum’s

foundational American art collection, supervised the creation of a collection-based 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 inaugural exhibition, Visual Art and the American Experience. Formerly, Dr. Fleming served in the position of Associate Curator of the American Art at The Dayton Art Institute in Dayton, Ohio. Since 1996, Dr. Fleming curated over 20 exhibitions and worked and/or consulted for a variety of museums and cultural institutions including: the August Wilson Cultural Center, The Taft Museum of Art, The Cincinnati Museum Center, The DuSable Museum of African American History, Inc., the National Underground Railroad Freedom Center, the Spelman College Art Museum, and the Art Gallery at the University of Maryland. Her publications include, “Visual Art and the American Experience: Creating an Art Gallery in a History and Culture Museum,” Art and Public History: Approaches, Opportunities, and Challenges (Rowan and Littlefield, 2017); “Cover Stories: The Fusion of Art and Literature During the Harlem Renaissance,” Dream a World Anew: The African American Experience and The Shaping of America (Smithsonian Books, 2016); “The Convergence of Aesthetics, Politics and Culture: Jeff Donaldson’s Wives of Shango,” AfriCOBRA: Philosophy (The University of Chicago, 2013); “It’s Showtime!

The Birth of the Apollo Theater,” Ain’t Nothing Like the Real Thing: How the Apollo Theater Shaped American Entertainment (Smithsonian Books, 2010); “The ‘Museum Baby’ Grows Up: Being a Curator of Color in a Monochromatic Art Museum World,” Museum News (July/August 2005); and, Breaking Racial Barriers: African American Portraits in the Harmon Foundation Collection (Pomegranate Press, 1997).

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SPE AKER, PANELIST & PRESENTER BIOGR APHIES CONT ’D CARMEN HERMO, Assistant Curator, Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum Carmen Hermo is Assistant Curator for the Brooklyn Museum’s Elizabeth A. Sackler Center for Feminist Art. She is organizing and co-curating several of the initiatives and exhibitions celebrating the upcoming 10th anniversary of the Sackler Center, A Year of Yes: Reimagining Feminism at the Brooklyn Museum, including Marilyn Minter: Pretty/Dirty and The Roots of “The Dinner Party.” Previously, Hermo was Assistant Curator for Collections at the Solomon R. Guggenheim Museum (2010–16), where she served on the museum’s Young Collectors Council acquisition committee devoted to the work of emerging artists.

She also researched and promoted the Guggenheim’s permanent collection, oversaw the Collection Online and the outgoing loans program, and worked on acquisitions, collection management, and special projects. She co-curated the contemporary collection exhibitions Now’s the Time: Recent Acquisitions (2012– 13) and Storylines: Contemporary Art at the Guggenheim (2015). She has also worked with the collections of the Whitney Museum of American Art and the Museum of Modern Art. Hermo received her BA in Art History and English from the University of Richmond and is completing an MA in Art History at Hunter College where she is an Estrellita Brodsky Scholar.

DIANA JOCELYN GREENWOLD, Associate Curator of American Art, Portland Museum of Art Dr. Greenwold is the Assistant Curator of American Art at the Portland Museum of Art (PMA). She holds a PhD in the History of Art from the University of California, Berkeley and was the Douglass Fellow in American Art at the Metropolitan Museum of Art from 20132014. At the PMA, Greenwold has curated exhibitions on historic and contemporary American art and decorative arts. Her most recent exhibit, Of Whales in Paint: Rockwell Kent’s Moby-Dick featured Kent’s original drawings for the 1930 illustrated edition of Melville’s novel alongside works by modern and contemporary practitioners from Frank Stella to Elaine Reichek who have used the tale as a way to address contemporary issues. Greenwold’s exhibition, Duncan Hewitt: Turning Strange, surveyed the work of contemporary Maine sculptor Duncan Hewitt. She is currently developing an exhibition about the Haystack Mountain School of Crafts between 1950 and 1969 and the role of the school in the Studio Crafts movement at mid-century.

Greenwold is also currently organizing projects on early American visual culture and Arts and Crafts Pottery. Her writing has appeared in Contemporaneity and Craft & Modernity: Professional Women Artists in Boston (1890-1920). She recently contributed an essay to the forthcoming publication, Hans Hofmann: Works on Paper. As part of the curatorial team at the PMA, Greenwold co-authored the museum’s first collection catalogue, The Collection: Highlights from the Portland Museum of Art and is part of the team currently reinstalling the entirety of the permanent collection.

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KIKI KAROGLOU, Assistant Curator, Greek & Roman Art, The Metropolitan Museum of Art Kiki Karoglou is an Assistant Curator in the Department of Greek and Roman Art at The Metropolitan Museum of Art. Kiki is a specialist on Ancient Greek art and her research focuses on sculpture, figure-decorated pottery, ancient Greek myth and religion, and the iconography of ritual. Recently she collaborated with Carlos Picon and Sean Hemingway on the Met’s major international exhibition Pergamon and the Hellenistic Kingdoms of the Ancient World, 2016, and she is currently planning an in-house exhibition entitled Dangerous Beauty scheduled to open in February 2018. Before joining the Metropolitan, Kiki held a Mellon postdoctoral appointment at the University of Toronto and has taught at the University of Toronto, the College of New Jersey, and Princeton.

She has held fellowships and internships at the Getty Research Institute, The American School of Classical Studies, The Princeton Art Museum, and the Acropolis Museum in Athens. Kiki has participated in numerous archaeological excavations in the Mediterranean and has published a book on painted pinakes dedicated in Attic sanctuaries, notably the Athenian Acropolis.

Kiki received her BA and MA from Athens University and her PhD in Classical Art and Archaeology from Princeton University.

DANIELLE LINZER, Curator of Education & Interpretation, The Andy Warhol Museum Danielle Linzer is the curator of education and interpretation at The Andy Warhol Museum. Prior to her arrival at The Warhol, Danielle was Director of Access and Community Programs at the Whitney Museum of American Art, where she oversaw broad institutional programming, compliance, and audience development efforts around accessibility and inclusion, as well as community-based partnerships and outreach strategies for populations that have traditionally been underserved by cultural organizations. In 2012 Danielle received an Emerging Leader award from the Leadership Exchange in Arts and Disability conference, organized by the Kennedy Center for the Performing Arts, and her digital media initiatives have been honored with awards from the Jodi Mattes Trust, the American Alliance of Museums, and the Museums and the Web annual conference. Danielle served as the CoChair (2012–2015) and steering committee member (2008–2012) of the Museum Access Consortium, a membership organization that strives to enable people with disabilities to access cultural facilities of all types. She has presented and taught nationally and internationally about her work with accessibility, community engagement, and impact and evaluation in museums. Prior to joining the Whitney in January 2009, Danielle served as the Education Coordinator at the Lower East Side Tenement Museum, where she oversaw school and public programs, managed programming for people with disabilities, and led digital history and community engagement efforts. Danielle received her BA from the University of Pennsylvania and holds an MS in Leadership in Museum Education from Bank Street College.

BRYANT T. MARKS, Executive Director, Program for Research on Black Male Achievement, Associate Professor, Dept. of Psychology, Morehouse College Dr. Bryant T. Marks, Sr. is an Associate Professor of Psychology at Morehouse College and Director of the Program for Research on Black Male Achievement. He served on President Obama’s Board of Advisors with the White House Initiative on Educational Excellence for African Americans. He recently served as senior advisor with the White House Initiative on Historically Black Colleges and Universities and currently serves as the inaugural Senior Research Fellow with the Campaign for Black Male Achievement. Dr. Marks was a contributor/trainer with the Obama Administration’s My Brother’s Keeper (MBK) and 21st Century Policing programs. Dr. Marks has provided implicit bias training to over 1,200 police chiefs and executives via a series of briefings at the White House in 2016, and several thousand patrol officers in local police departments.

He has also provided training related to diversity and inclusion to individuals in education (K-12 and higher education), philanthropy, non-profits, local and federal government, and several other sectors. He serves on several national boards and is a highly sought after speaker and trainer. He holds a BA in psychology and a minor in economics from Morehouse College, and an MA and PhD in Social Psychology from the University of Michigan. Dr. Marks conducts research and professional development in the areas of Black male psychology and development, the academic achievement of minority college students, diversity and implicit bias, innovations in STEM education, and personal passion and productivity. He is married to Kimberly Marks and father to Kim, Zion-Trinity, and Bryant II.

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PAMELA Z. MCCLUSKY, Curator of African & Oceanic Art, Seattle Art Museum

MONICA O. MONTGOMERY, Founding Director & Curator, Museum of Impact

Pamela established a department for the Art of Africa, Oceania and the Americas at the Seattle Art Museum in the 1980s. It became the museum’s fastest growing department, receiving several significant collections, and hosting a vast range of exhibitions. Honoring the depth of the African holdings, she led a collaborative process with African scholars, artists and advisors to create a national tour, publication and web resource entitled Long Steps Never Broke a Back in 2002–2004.

In the last decade, she has collaborated on exhibitions such as Nick Cave: Meet Me at the Center of the Earth, Gauguin and Polynesia: An Elusive Paradise, and Colors of the Oasis: Central Asian Ikats. For the opening of Seattle’s expanded museum in 2007, she curated multiple galleries of African art, along with experimental installations that mixed cultural perspectives and cross-continental boundaries. In 2012, she led an effort to place Australian art in the permanent galleries and oversaw an exhibition, publication and tour called Ancestral Modern: Australian Aboriginal Art. Recently, she was the lead curator for Disguise: Masks and Global African Art, a national touring exhibition that combined masks of the past with masquerading of the present, and Mood Indigo: Textiles from Around the World. She is now working on a new design and interpretation of the African collection galleries which are expected to open in spring 2018, and will focus on the distinctions between public and private art and the ways they are presented in museums.

Monica O. Montgomery is a cultural entrepreneur, curating media, museums and memory to enhance creative inspiration. She believes museums should be in service to society, and is the Founding Director of the Museum of Impact, the world’s first mobile social justice museum. She leads MOI in working within communities to amplify grassroots movements and social issues, at the intersection of art and activism.

Museum of Impact is currently traveling across the country with the inaugural exhibit Movement Is Rising: Journey of #BlackLivesMatter and collecting oral histories and stories via the Activist Love Letters™ project. Monica is the Co-founder and Strategic Director of Museum Hue, a platform advancing the visibility and viability of professionals of color in museums, arts, culture and creative careers.

ROSIE MILLS, Associate Curator, Los Angeles County Museum of Art Rosie Mills joined LACMA in 2013 as Associate Curator for European Decorative Arts from the Middle Ages to 1850. Since her arrival, Mills has curated The Stowe Vase: From Ancient Art to Additive Manufacturing (2016), and co-curated Close-Up and Personal: EighteenthCentury Gold Boxes from The Rosalinde and Arthur Gilbert Collection (2014) and Beyond Bling: Jewelry from the Lois Boardman Collection (2016). Previously, she was recruited to the redevelopment project teams for both the Medieval & Renaissance Galleries (2009) and the Europe 1600-1815 Galleries (2015) at the Victoria and Albert Museum in London, where she also worked with the Metalwork Collection and produced a display on early etching on arms and armour and printing plates. She completed a PhD on gender and medieval manuscript illumination at the University of East Anglia (2008) while working at The Stained Glass Museum in Ely, Cambridgeshire. Mills holds masters degrees in Museology and Medieval Art from UEA (2003) and the Courtauld Institute of Art (2001), respectively and is a graduate of San Francisco State University.

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CATHERINE MORRIS, Sackler Family Senior Curator, Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum Catherine Morris is the Sackler Family Senior Curator for the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum where, since 2009, she has curated and co-curated numerous exhibitions including Agitprop!; Judith Scott–Bound and Unbound; Chicago in L.A: Judy Chicago’s Early Work, 1963-1974; and Materializing Six Years: Lucy R. Lippard and the Emergence of Conceptual Art. She has worked on exhibitions and curatorial projects with Beverly Buchanan, Marilyn Minter, Zanele Muholi, Suzanne Lacy, Matthew Buckingham, Lorna Simpson, Kiki Smith and Rachel Kneebone and produced historical exhibitions such as Twice Militant: Lorraine Hansberry’s Letter to The Ladder, Newspaper Fiction: The New York Journalism of Djuna Barnes, 1913-1919, and Healing the Wounds of War: The Brooklyn Sanity Fair of 1864.

Previously an independent curator, Morris organized, among other projects, Decoys, Complexes and Triggers: Women and Land Art in the 1970s at SculptureCenter, New York; 9 Evenings Reconsidered: Art, Theatre and Engineering, 1966 for the List Visual Arts Center, MIT, Cambridge, Massachusetts; and two exhibitions, Gloria: Another Look at Feminist Art of the 1970s and Food at White Columns, New York. Morris is currently co-organizing A Year of Yes: Reimagining Feminism at the Brooklyn Museum, a series of ten exhibitions and an extensive roster of public programs celebrating the tenth anniversary of the Elizabeth A. Sackler Center for Feminist Art, which opened October 2016 and continues through early 2018. The calendar of exhibitions includes We Wanted a Revolution: Black Radical Women, 1965-1985, co-curated with Rujeko Hockley, which will open April 21, 2017.

TANYA M. ODOM, EdM, Global Diversity & Inclusion & Education Consultant & Executive Coach Tanya M. Odom is a global consultant, coach, facilitator, teacher, writer, and thought leader. She has worked globally as a consultant and facilitator for over two decades focusing on areas including: Innovation and Creativity, Diversity and Inclusion, Race/Racism, Teambuilding, Mindfulness, Coaching, Inclusive Leadership, Girls’ Leadership Development, and Youth Empowerment/Mentoring. Tanya’s unique portfolio career has allowed her to work in the education, private sector/corporate, not-for-profit/NGO, law enforcement, and university/college arenas. She is the co-author of “Evaluation in the Field of Education for Democracy, Human Rights and Tolerance.” Tanya is a frequent contributor to the Huffington Post, where she has written posts about diversity, leadership, self-compassion, and mindfulness. Tanya also writes for CNN.com. Tanya’s work and commentary has also appeared in several publications including Diversity Woman Magazine, Bloomberg News, and The Village Voice. She has spoken on issues of race and multiculturalism on Newstalk Television cable show and HOT-97 radio program. Tanya was on the faculty of the Human Resources Management program at Georgetown University, where she taught courses in the area of innovation and creativity. She has also taught at Princeton University in the Junior Summer Institute, and has been an adjunct professor at Manhattanville College, where she taught graduate courses in the areas of Diversity, Leadership, and Team Development. She has also taught a course at the Center for Conflict Resolution at the University of Capetown in South Africa.

JENNIFER KOMAR OLIVAREZ, Head of Exhibition Planning & Strategy, Interim Curator, Purcell-Cutts House, Minneapolis Institute of Art; AAMC & AAMC Foundation Awards for Excellence Committee Chair Jennifer attended Saint Louis University, the University of Minnesota and the University of Glasgow. She joined the Minneapolis Institute of Art in 1991 as an intern, and has since helped Mia become a destination for its collection of modern design and craft. She served as a curator in the Decorative Arts department for 25 years, specializing in architecture, craft, and design, particularly from the 19th century to today. As Head of Exhibition Planning and Strategy since 2016, she leads the museum in engaging the public with innovative exhibitions and dynamic programs generated in conjunction with the curatorial team, promotes Mia’s curatorial programs, and project-manages exhibition planning and implementation. At the same time, she continues to oversee the museum’s 1913 Purcell-Cutts House and organize Mia’s Living Rooms initiative to revitalize the museum’s period rooms. Major curatorial projects include involvement in the international retrospective Eero Saarinen: Shaping the Future (cohosted in Minneapolis by Mia and the Walker Art Center). This led to a significant exhibition on Finnish contemporary design, craft, and architecture, Finland: Designed Environments. Jennifer also co-organized a major retrospective of Minnesota modernist architect and designer Ralph Rapson, including his lesser-known furniture designs, filling out his legacy beyond architecture. She is also widely sought as an expert on Prairie School architecture and design, and authored Progressive Design in the Midwest: The PurcellCutts House and the Prairie School Collection at The Minneapolis Institute of Arts.

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SPE AKER, PANELIST & PRESENTER BIOGR APHIES CONT ’D

TOBIAS OSTRANDER, Chief Curator & Deputy Director for Curatorial Affairs, Pérez Art Museum

ANNE PASTERNAK, Shelby White & Leon Levy Director, Brooklyn Museum

Tobias Ostrander has served as Chief Curator and Deputy Director for Curatorial Affairs at the Pérez Art Museum since 2011. He oversees the diverse programming and collection of this museum’s Herzog and De Mueron building that opened in December of 2013. At PAMM he has organized solo exhibitions on the work of Julio Le Parc, David Reed, Beatriz Milhazes, Mario Garcia Torres, Édouard Duval-Carrié, Geoffrey Farmer, Leonor Antunes, Jeff Wall, and Sheela Gowda, among others. He has organized two group exhibitions on the museum’s permanent collection, titled AMERICANA and Routes of Influence. He additionally curated the group exhibition Poetics of Relation, inspired by the writings of the poet Édouard Glissant from Martinique. Prior to relocating to Miami, he worked in Mexico City from 2001-2011, first as the Curator of Contemporary Art at the Museo Tamayo (2001-2009) and then as Director of El Museo Experimental El Eco (2009-2011). From 1999-2001 he served as Associate Curator of inSITE2000, a bi-national public art project in the border region of San Diego and Tijuana. In 199798 he was an Assistant Curator on the XXIV Bienal de São Paulo. He has a Masters in Curatorial Studies from Bard Center for Curatorial Studies.

On September 1, 2015, Anne Pasternak joined the Brooklyn Museum, one of the oldest and largest fine arts collections in the nation. Previously, she served as President and Artistic Director of Creative Time, a non-profit arts organization based in New York City that commissions and presents adventurous public art projects. In her twenty years of leadership, the organization collaborated with hundreds of artists, expanded its work globally, and introduced millions of people to innovative contemporary art practices. Renowned projects include performances in the historic Brooklyn Bridge Anchorage, sculptural installations in Grand Central Station’s Vanderbilt Hall, sign paintings in Coney Island, skywriting over Manhattan, and among the most remarkable, the Tribute in Light, the twin beacons of light that illuminated the sky above the former World Trade Center site six months after 9/11, and which continue to be presented on the anniversaries of that date.

Anne has been committed to initiating projects that give artists opportunities to engage in the big issues of our times while also expanding their practice, including such now-renowned artists as Doug Aitken, Laurie Anderson, Cai Guo-Qiang, Nick Cave, Paul Chan, Jenny Holzer, Vik Muniz, Shirin Neshat, Tom Sachs, Kara Walker, and many more. She is known as a field innovator, having launched international programs such as the Creative Time Summit, the largest art and social-justice conference in the world, and Creative Time Reports, which provides artists with a space to voice analysis and commentary on issues too often overlooked by mainstream media. With her demonstrated imagination and skill, Anne envisions new ways to connect the Brooklyn Museum’s historical collections with leading-edge ideas and practices.

Deeply passionate about engaging broad audiences and the limitless power of art to move, motivate, and inspire, she is a staunch advocate for the civic and democratic roles our cultural and educational institutions can play.

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JUDITH PINEIRO, Executive Director, AAMC & AAMC Foundation; Ex Officio Judith Pineiro joined the Association of Art Museum Curators (AAMC) & AAMC Foundation as Executive Director in January 2014. Since taking leadership of the organizations, she has launched new fellowships, expanded programming, and increased funding. 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-five 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 an MA in Art History and a Certificate in Curatorial Studies from Rutgers University, where she also obtained a BA in Art History and a BA in Journalism/Mass Media. Judith served as a visual arts re-grant panelist for two years with the Brooklyn Arts Council, and currently is on ArtTable’s Membership Committee.

FRANCESCA ROSENBERG, Director, Community, Access & School Programs, Museum of Modern Art In her 22 years with the Museum of Modern Art, Ms. Rosenberg and her team have won national and international respect for MoMA’s efforts to make the Museum accessible to all. Most recently, MoMA received awards from the Alzheimer’s Association; American Association of Museums; Museums and the Web; and the Hearing Loss Association of America.

Ms. Rosenberg is a founding member of the Museum Access Consortium and currently serves on its steering committee. She is a Board member of Studio in a School and co-author of Meet Me: Making Art Accessible to People with Dementia and Making Art Accessible to Blind and Visually Impaired Individuals.

ALEXANDRA SCHWARTZ, Independent Curator Alexandra Schwartz is a New York-based independent curator and scholar of modern and contemporary art. Her recent and upcoming exhibitions include American Histories, a group show of contemporary figurative drawing, at Pi Artworks London (Fall 2016) and As in Nature: Helen Frankenthaler Paintings at the Sterling and Francine Clark Art Institute, Williamstown, Massachusetts (Summer 2017), with a catalogue from Yale University Press. She also served as the Guest Critic of The Brooklyn Rail’s March 2017 issue, commissioning essays and on the relationship between visual art and costume. Until 2016, she was the founding curator of contemporary art at the Montclair Art Museum. Her exhibition Come as You Are: Art of the 1990s toured nationally in 2015–16, and was accompanied by a major catalogue from the University of California Press. At Montclair she also organized exhibitions of Sanford Biggers, Jean Shin, Dannielle Tegeder, and Saya Woolfalk, among others; and spearheaded major commissions and acquisitions by artists including Mark Dion, Spencer Finch, Sheila Hicks, Hank Willis Thomas, and Kara Walker. Previously she was a curator at the Museum of Modern Art, where her exhibitions included Mind and Matter: Alternative Abstractions, 1940s to Now and Modern Women: Single Channel at MoMA PS1. She is the author of Ed Ruscha’s Los Angeles (MIT Press, 2010), the co-editor of Modern Women: Women Artists at The Museum of Modern Art, and the editor of Leave Any Information at the Signal: Writings, Interviews, Bits, Pages

by Ed Ruscha (MIT Press, 2002). Her catalogues have twice won Awards for Excellence from the Association of Art Museum Curators (2010 and 2016). Schwartz has taught at Columbia University, the University of Michigan, the School of Visual Arts, Sotheby’s Institute of Art, Montclair State University, MoMA, and the Whitney Museum of American Art. She received a BA from Harvard University and an MA and PhD from the University of Michigan.

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SPE AKER, PANELIST & PRESENTER BIOGR APHIES CONT ’D NANCY SPECTOR, Artistic Director & Chief Curator, Solomon R. Guggenheim Museum

IRENE SHUM, Curator & Collections Manager, Philip Johnson Glass House, National Trust for Historic Preservation Irene Shum is the inaugural curator of the Glass House, a site of the National Trust for Historic Preservation, where she organized large-scale art exhibitions, such as Fujiko Nakaya: Veil (2014) and Yayoi Kusama: Narcissus Garden (2016), that explore the intersection of art and architecture. She started her curatorial career at The Museum of Modern Art, where she organized Groundswell: Constructing the Contemporary Landscape (2005), the museum’s first survey of landscape architecture and urban design. Prior to joining MoMA, she worked at the Whitney Museum of American Art and New Museum of Contemporary Art. She received an AB from Barnard College, Columbia University, and M.Arch from Yale University.

JENNI SORKIN, Assistant Professor, Contemporary Art History, University of California, Santa Barbara Jenni Sorkin is Assistant Professor of Contemporary Art History at University of California, Santa Barbara.

She holds a PhD in the History of Art from Yale University and an MA in Curatorial Studies from The Center for Curatorial Studies at Bard College, where she also taught from 2009 to 2010. She has received post-doctoral fellowships from the American Council of Learned Societies (ACLS) and the Getty Research Institute. She has also published widely as an art critic, and her writing has appeared in numerous exhibition catalogs, as well as Artforum, Art Journal, Art Monthly, NU: The Nordic Art Review, Frieze, The Journal of Modern Craft, Modern Painters, Third Text, and Texte zur Kunst.

In 2016, she co-curated, with Paul Schimmel, the exhibition Revolution in the Making: Abstract Art By Women, 1947-2016, the inaugural exhibition at Hauser Wirth & Schimmel in Los Angeles. She was a curatorial consultant and catalog author for the recent traveling exhibition Leap Before You Look: Black Mountain College, 1933-1957. In 2010, she co-organized, with Gabriela Rangel, Blind Spots/Puntos Ciegos: Feminisms, Cinema, and Performance, for the eighth edition of SITAC, the International Symposium of Contemporary Art Theory, held in Mexico City. From 2001 to 2004 she worked as a Research Assistant and Project Coordinator for WACK! Art and the Feminist Revolution, curated by Connie Butler at MOCA. Sorkin’s book, Live Form: Women, Ceramics and Community, about gender and post-war ceramics practice at Black Mountain College and other utopian communities, was published by The University of Chicago Press in 2016.

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Nancy Spector received her Masters Degree in Art History from the Clark Art Institute at Williams College and her MPhil from City University Graduate Center in New York after graduating from Sarah Lawrence College. During more than 29 years at the Solomon R. Guggenheim Museum and Foundation, including 10 years as Deputy Director and Jennifer and David Stockman Chief Curator, she organized exhibitions on conceptual photography, Felix Gonzalez-Torres, Matthew Barney’s Cremaster cycle, Richard Prince, Louise Bourgeois (with Tate Modern), Marina Abramovic, Tino Sehgal, Maurizio Cattelan and Peter Fischli/David Weiss. She also organized the group exhibitions Moving Pictures; Singular Forms (Sometimes Repeated); and theanyspacewhatever. She was Adjunct Curator of the 1997 Venice Biennale and co-organizer of the first Berlin Biennial in 1998. Under the auspices of the Deutsche Guggenheim Berlin, she initiated special commissions by Andreas Slominski, Hiroshi Sugimoto, Lawrence Weiner, and Gabriel Orozco, as well as a special exhibition on the work of Joseph Beuys and Matthew Barney.

She has contributed to numerous books on contemporary visual culture with essays on artists such as Maurizio Cattelan, Luc Tuymans, Roni Horn, Janine Antoni, Douglas Gordon, Tino Seghal, and Mona Hatoum. In 2007 she was the U.S. Commissioner for the Venice Biennale, where she presented an exhibition of work by Felix Gonzalez-Torres. Spector is a recipient of the Peter Norton Family Foundation Curators Award, five International Art Critics Association Awards, and a Tribeca Disruptive Innovation Award for her work on YouTube Play, a Biennial of Creative Video. In 2014, she was included in the 40 Women Over 40 to Watch list. At the Brooklyn Museum, where she worked as Deputy Director and Chief Curator from 2016-17, she reorganized the curatorial staff structure, launched the 10-exhibition program Year of Yes: Reimagining Feminism, and spearheaded the cross-collection, longterm exhibition Infinite Blue.

HANK WILLIS THOMAS, Artist Hank Willis Thomas is a photo conceptual artist working primarily with themes related to identity, history and popular culture. He has exhibited throughout the U.S. and abroad and is in numerous public collections including The Museum of Modern Art New York, The Solomon R. Guggenheim Museum, The Whitney Museum of American Art, The Brooklyn Museum, The Cleveland Museum of Art and the National Gallery of Art in Washington DC. His collaborative projects have been featured at the Sundance Film Festival and installed permanently at the Oakland International Airport, The Birmingham-Shuttlesworth International Airport, The Oakland Museum of California, and the University of California, San Francisco. He is also a recipient of the New Media grant from Tribeca Film Institute and New Media Infinity Award from the International Center of Photography for his trans media project, Question Bridge: Black Males. He is a commissioner for the Public Design Commission for the city of New York. Thomas is represented by Jack Shainman Gallery in New York City and Goodman Gallery in South Africa.

YAO-FEN YOU, Associate Curator of European Sculpture & Decorative Arts, The Detroit Institute of Arts Yao-Fen You is Associate Curator of European Sculpture and Decorative Arts at the Detroit Institute of Arts. She was the curator of Faberge, The Rise and Fall: The Virginia Museum of Fine Arts (2012–13) and more recently organized the exhibition, Bitter|Sweet: Coffee, Tea & Chocolate (2016–17). The author of Coffee, Tea, and Chocolate: Consuming the World, You has lectured and published widely on a variety of topics from stained glass and polychrome sculpture to porcelain and hot drinks. Prior to joining the DIA in 2008, she was the Theodore Rousseau Post-Doctoral Fellow in European Paintings at the Harvard Art Museums (2004-2007). You earned her PhD in the History of Art from the University of Michigan and her BA from the University of California, Berkeley.

DEBORAH WILLIS, University Professor & Chair of the Department of Photography & Imaging at the Tisch School of the Arts, New York University Deborah Willis, PhD, is University Professor and Chair of the Department of Photography & Imaging at the Tisch School of the Arts at New York University and has an affiliated appointment with the College of Arts and Sciences, Department of Social & Cultural, Africana Studies, where she teaches courses on photography and imaging, iconicity, and cultural histories visualizing the black body, women, and gender. Her research examines photography’s multifaceted histories, visual culture, the photographic history of Slavery and Emancipation, contemporary women photographers and beauty. She received the John D. and Catherine T. MacArthur Fellowship and was a Richard D. Cohen Fellow in African and African American Art, Hutchins Center, Harvard University and a John Simon Guggenheim Fellow. Professor Willis received the NAACP Image Award in 2014 for her coauthored book (with Barbara Krauthamer) Envisioning Emancipation. Other notable projects include The Black Female Body: A Photographic History, Reflections in Black: A History of Black Photographers – 1840 to the Present, Posing Beauty: African American Images from the 1890s to the Present, Michelle Obama: The First Lady in Photographs, a NAACP Image Award Literature Winner, and Black Venus 2010: They Called Her ‘Hottentot’.

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NOTES

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