AAMC 2018 Conference Catalog by AAMC & AAMC Foundation

Association of Art Museum Curators & AAMC Foundation 17th Annual Conference & Meeting May 5-8, 2018 MONTREAL

#AAMC2018

EXECUTIVE DIRECTORâ&#x20AC;&#x2122;S LETTER

AAMC & AAMC FOUNDATION LEADERSHIP

COMMITTEES, TASK FORCES, & AWARD CHAIR

PROGRAMS

FELLOWSHIPS

AWARDS FOR EXCELLENCE PRESENTED BY PACART

SPONSORS & SUPPORTERS

CIRCLE DONORS

SUSTAINING MEMBERS

ANNUAL FUND DONORS

INSTITUTIONAL MEMBERS

CONFERENCE SPONSORS & SUPPORTERS

KEYNOTE DIALOGUES

SCHEDULE IN BRIEF

SCHEDULE IN FULL

SPEAKER, PANELIST, & PRESENTER BIOS

CONTENTS

PRESIDENT, BOARD OF TRUSTEES, WELCOME LETTER

104

LEAD CONFERENCE SPONSOR

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: Lynn Lane, Lucy Lydon, Judith Pineiro, Studio TOTA, and Michael Seto Photography. Design: Kirstin Huber. 3

PRESIDENT, BOARD OF TRUSTEES, WELCOME LETTER

I am delighted that we are here in the beautiful city of Montréal for the 2018 Annual Conference and Meeting of the Association of Art Museum Curators (AAMC) and AAMC Foundation. I would like to begin by acknowledging our location, and our presence, on unceded Indigenous lands, the traditional territory of the Kanien’kehá:ka Nation. We have come together in a place that has long been a gathering site for many Indigenous communities and today is home to peoples of diverse backgrounds. Territorial acknowledgment is a cultural protocol that demonstrates respect for the traditional keepers of Canada’s land and waterways. Much more than a gesture honoring ancestral roots, these words recognize the ongoing presence of Indigenous peoples and aim for transformative change – for reckoning with colonial legacies and the unsettling narratives of the past that resonate in the present. Such statements also have relevance beyond their immediate Canadian context; they relate more broadly to the work of curators in the 21st century as we engage with similarly complex histories embodied in the artworks that we steward and inherent in our institutional structures. This year’s Conference, our first outside of the United States, encourages dialogues centered around collaboration, cooperation, engagement, and interpretation. What better place to have these conversations than here in Canada, whose art institutions have pioneered collaborative models of curatorial practice that accommodate both difference and inclusivity? Art historian Ruth Phillips, one of our four inspiring keynote speakers, looks back at this history in her recent book, Museum Pieces. In it, she imagines a “second museum age,” one that embraces global interconnectedness, promotes collaborative curation, and rethinks structural relationships that inhibit inclusivity. Our program this year speaks to the curator’s role in advancing this inspiring vision of the 21st-century museum. Keynote Dialogues focus on cultural preservation, research, and artistic creation in developing inclusive and equitable exhibitions, collections, and audiences. These dialogues will be between artist Skawennati and Ruth Phillips, Professor at Carleton University, and between Lisa Ackerman, Executive Vice President of the World Monuments Fund, and Cara Krmpotich, Associate Professor, iSchool, University of Toronto. Panel sessions address topics including integrating critical race theory in museums, collection sharing, Latinx identity and institutional representation, enhanced relationships between digital and curatorial, and decolonizing museums. Over the four days, we’ll also engage with the outstanding arts community here in Montréal, with programs and tours at 1700 La Poste, Antoine Ertaskiran Gallery / Galerie Antoine Ertaskiran, Arsenal Contemporary Art & Division

Our main host partner has been the Montreal Museum of Fine Arts / Musée des beaux-arts de Montréal, where we’ll hold our formal sessions and which is also our generous host for our donor dinner. Nous remercions tout particulièrement le Musée des beaux-arts de Montréal, le plus grand musée de la ville, et sa directrice générale et conservatrice en chef, Madame Nathalie Bondil, pour avoir généreusement accueilli nos conférences pendant deux jours dans leur vaste complexe muséal. Special thanks as well to our lead conference sponsor, Sotheby’s, whose consistent support of and dedication to the AAMC and our mission of serving curators is so greatly appreciated. And finally, we acknowledge our curatorial colleagues whose hard work made this conference possible: AAMC Board Members Tobi Bruce and Sharon Matt Atkins, our Conference Benefit Committee Co-Chairs; Hilliard Todd Goldfarb, who encouraged us to come to Montréal; and all the members of the Committee, Heather Anderson, Marie-Eve Beaupré, Tuliza Fleming, Dominique Fontaine, Jen Mergel, Haema Sivanesan, and Georgiana Uhlyarik. Above all, we are grateful for our Executive Director Judith Pineiro and her team, for all of their work toward our Conference and extensive additional programming throughout the year. Whether this is your first AAMC conference or you are a returning attendee, please do use this opportunity to get to know our growing community of curators. And feel free to tell me, Judith, or other Board Members about your needs and ideas for the AAMC. This is your organization and we’d really like to hear from you.

PRESIDENT, BOARD OF TRUSTEES, WELCOME LETTER

Gallery / Arsenal Art Contemporain & Galerie Division, Artexte, Canadian Centre for Architecture / Centre Canadien d’Architecture, Château Ramezay, Darling Foundry / Fonderie Darling, DHC/ART Foundation for Contemporary Art / DHC/ ART Fondation pour l’Art Contemporain, La Ruche d’Art St-Henri, McGill University Archives, Library, and James Sculpture Garden, Montreal Museum of Fine Arts’ Decorative Arts & Design Collection / Musée des beaux-arts de Montréal collection d’art décoratifs et de design, SBC Gallery of Contemporary Art / SBC Galerie d’art contemporain, UQAM Gallery / Galerie de l’UQAM, and VOX Contemporary image center / VOX Centre de l’image contemporaine. And we are grateful to our reception hosts: Phi Centre / Centre Phi, for presenting our Mentorship Brunch; the McCord Museum / Musée McCord, where we will hold our Members’ Reception sponsored by Sotheby’s; Parisian Laundry, for launching festivities on our first night; and the Musée d’art contemporain de Montréal (MAC), where we’ll toast our Awards for Excellence recipients. We are grateful to PACART, this year’s Awards for Excellence sponsor.

Christa Clarke Senior Curator, Arts of Global Africa Newark Museum President, Board of Trustees, AAMC & AAMC Foundation 5

EXECUTIVE DIRECTOR’S LETTER

It is an honor to lead the Association of Art Museum Curators & AAMC Foundation, the foremost non-profit organization dedicated to advancing the curatorial field. Through our expansive programmatic calendar, we serve our mission of providing leadership, career development, and skill-based training for art curators around the globe. Together our work has ensured AAMC’s impact provides value and our best practices standards are disseminated publicly. Our commitment to having open dialogues on critical issues of advocacy and inclusion and to advancing innovative, collaborative, and empathetic environments within organizations fosters an understanding of the significance of curatorial endeavors. Over the years, our membership has expanded in multiple ways, welcoming and serving more curators than ever before in our history. Our engagement with “four-wall” collecting museum curators remains strong and is balanced with a dynamic representation of curators working in community-oriented, public art, government related, non-collecting, social justice, and other types of art organizations. Independent curators, and others, who seek to engage with AAMC are also an important part of our network. As we represent many curators—those in any field of expertise and at any stage of their career—we ensure our efforts are valuable for many within our diverse membership. Since 2014, we have developed multiple touch points to connect and serve our constituency, culminating in directly serving 1,000 individuals with programming and fellowships alone in 2017. This year will continue our vision of celebrating, advancing, and advocating for the art curatorial profession globally. Our regional In-Conversation series directly bonds us together on a local platform, fostering a stronger network allied with the organization. In 2017 we had programs in Los Angeles on art interventions as direct and active vehicles for social change; in Toronto on curatorial work’s impact on appreciation of the cultures, people, and objects they present; and in Chicago on multiple pathways within non-traditional career trajectories. Our most recent program was in 2018 in Seattle on engaging multiple voices in building inclusion. We look forward to continuing the community-building this program series encourages. Through our webinars we virtually bring together members and non-members by presenting professional development-based sessions quarterly during the year. However, our next offering in June will look to a new model of webinars, with a three-part series investigating the broader subject of provenance research. Each session in the series will address a different aspect, including acknowledging the impact of the pioneering work in World War II era research; reviewing work currently being undertaken for non-World War II era looting and specifically looking at fields such as African Art, Asian Art, and Antiquities; and emphasizing

Our fellowships and grants have supported curatorial research and expanded the skills and experience of the awardees. For example, our Networked Curator program gave 28 participants, over two separate workshops, an 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. The program also included collaborative presentations with AAMC at the Museum Computer Network (MCN) Conference. The sessions included AAMC, program participants, MCN leaders, and others, with the goal of that through these additional conversations, we encourage an enhanced desire to collaborate within digital, education, and curatorial. AAMC uses a variety of communication strategies to share our work with our constituents and followers, from our resource-based website to our more than 40,000 followers on Twitter and our more than 7,000 followers on Facebook. In the past 12 months, we have been visible leaders on ethical standards and best practices such as the planned deaccessioning from the Berkshire Museum and LaSalle University, #NotSurprised and the immense impact sexual harassment has in our sector, and in support of the NEA, IMLS, and NEH. Our distribution of news goes beyond our own efforts, to include curatorial hires, collection donations, social issues, and more, because doing so brings us all closer together. AAMC’s advocacy for the field positions our organization as the recognized voice for curators, leading to the organization securing representation in articles in The New York Times, ARTnews, Artnet, and ArtForum, among others. The work to cultivate our identity recognition has also resulted in participation at the conferences of the Association of Art Museum Directors, Association of African American Museums, and the Museum Computer Network.

EXECUTIVE DIRECTOR’S LETTER

the interest and need for progress in collaboration on sharing data, applying digitization, and resources in communicating knowledge.

We could not accomplish all we have without our members and supporters, and I look forward to connecting with many of you over the span of the Conference and beyond.

Judith Pineiro Executive Director, AAMC & AAMC Foundation

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2017-2018 AAMC & AAMC FOUNDATION LEADERSHIP 10

A sincere thank you to our Board of Trustees, Committees, and Task Forces for their volunteer efforts on behalf of AAMC & AAMC Foundation.

BOARD OF TRUSTEES EXECUTIVE COMMITTEE CHRISTA CLARKE, Senior Curator, Arts of Global Africa, Newark Museum; President CATHERINE L. FUTTER, Director of Curatorial Affairs, The Nelson-Atkins Museum of Art; Vice President, Communications MADHUVANTI GHOSE, Alsdorf Associate Curator of Indian, Southeast Asian, Himalayan & Islamic Art, Department of Asian Art, Art Institute of Chicago; Vice President, Governance CODY HARTLEY, Senior Director, Collections & Interpretation, Georgia Oâ&#x20AC;&#x2122;Keeffe Museum; Vice President, Finance JEN MERGEL, Independent Curator; Vice President, Programs

PAOLA ANTONELLI, Senior Curator in the Department of Architecture & Design, and Director, Research & Development, The Museum of Modern Art SHARON MATT ATKINS, Director of Curatorial Affairs, Brooklyn Museum; Conference Benefit Committee Co-Chair TOBI BRUCE, Director, Exhibitions & Collections, & Senior Curator, Art Gallery of Hamilton; Conference Benefit Committee Co-Chair JULIAN COX, Chief Curator & Deputy Director, Art Gallery of Ontario ELLIOT BOSTWICK DAVIS, John Moors Cabot Chair, Art of the Americas, Museum of Fine Arts, Boston; Finance, Fundraising & Audit Committee SANDRA Q. FIRMIN, Director & Chief Curator, Colorado University Art Museum ALISON DE LIMA GREENE, Isabel Brown Wilson Curator of Modern & Contemporary Art, The Museum of Fine Arts, Houston MICHELLE HARGRAVE, Deputy Director, New Britain Museum of American Art BENJAMIN M. HICKEY, Curator of Exhibitions, Paul and Lulu Hilliard University Art Museum MICHELLE JACQUES, Chief Curator, Art Gallery of Greater Victoria; Career Support Committee Co-Chair SOYOUNG LEE, Curator, Department of Asian Art, The Metropolitan Museum of Art C. GRIFFITH MANN, Michel David-Weill Curator in Charge, Department of Medieval Art & The Cloisters, The Metropolitan Museum of Art ELIZABETH MORRISON, Senior Curator of Manuscripts, J. Paul Getty Museum E. CARMEN RAMOS, Deputy Chief Curator & Curator of Latino Art, Smithsonian American Art Museum; Advocacy Task Force PETER SCHERTZ, Jack & Mary Ann Frable Curator of Ancient Art, Virginia Museum of Fine Arts; Advocacy Task Force Co-Leader

2017-2018 AAMC & AAMC FOUNDATION LEADERSHIP

TRUSTEES-AT-LARGE

ANNE COLLINS SMITH, Curator of Collections, Spelman College Museum of Art; Career Support Committee ELIZABETH SMITH, Executive Director, Helen Frankenthaler Foundation ANN YONEMURA, Senior Associate Curator of Japanese Art, Freer Gallery of Art | Arthur M. Sackler Gallery, Smithsonian Institution; Governance & Nominating Committee 11

2017-2018 AAMC & AAMC FOUNDATION LEADERSHIP 12

TRUSTEE EMERITI PAST PRESIDENTS ELIZABETH W. EASTON, Co-Founder & Director, Center for Curatorial Leadership; Past President, Trustee Emerita CAROL S. ELIEL, Curator of Modern Art, Los Angeles County Museum of Art; Past President, Trustee Emerita HELEN C. EVANS, Mary & Michael Jaharis Curator of Byzantine Art, The Metropolitan Museum of Art; Past President, Trustee Emerita EMILY BALLEW NEFF, Executive Director, Memphis Brooks Museum of Art; Past President, Trustee Emerita JOHN RAVENAL, Executive Director, deCordova Sculpture Park & Museum; Past President, Trustee Emeritus GEORGE T.M. SHACKELFORD, Deputy Director, Kimbell Art Museum; Past President, Trustee Emeritus GARY TINTEROW, Director, The Museum of Fine Arts, Houston; Past President, Trustee Emeritus

JOHN B. KOEGEL, Founder & Lawyer, The Koegel Group LLP; Counsel, ex officio MARY-KATE Oâ&#x20AC;&#x2122;HARE, Vice President, Advisor, Modern & Contemporary Art, Art Advisory & Finance, Citi Private Bank; ex officio JUDITH PINEIRO, Executive Director, AAMC & AAMC Foundation; ex officio JULIET SORCE, Senior Vice President, Resnicow & Associates; ex officio

2017-2018 AAMC & AAMC FOUNDATION LEADERSHIP

EX OFFICIO

COMMITTEES, TASK FORCES, & AWARD CHAIR 14

COMMITTEES, TASK FORCES, & AWARD CHAIR AWARDS FOR EXCELLENCE CHAIR JENNIFER KOMAR OLIVAREZ, Head of Exhibition Planning & Strategy and Interim Curator, Purcell-Cutts House, Minneapolis Institute of Art ADVOCACY TASK FORCE KENNETH BRUMMEL, Assistant Curator of Modern Art, Art Gallery of Ontario LAUREN SCHELL DICKENS, Curator, San JosÃ© Museum of Art CATHERINE L. FUTTER, Director of Curatorial Affairs, The Nelson-Atkins Museum of Art; Vice President, Communications, Board of Trustees, Executive Committee Representative UGOCHUKWU-SMOOTH NZEWI, Curator of African Art, The Cleveland Museum of Art E. CARMEN RAMOS, Deputy Chief Curator and Curator of Latino Art, Smithsonian American Art Museum; Board of Trustees PETER SCHERTZ, Jack & Mary Ann Frable Curator of Ancient Art, Virginia Museum of Fine Arts; Board of Trustees, Advocacy Task Force Co-Leader ALEXANDRA SCHWARTZ, Independent Curator STACI STEINBERGER, Assistant Curator, Decorative Arts & Design, Los Angeles County Museum of Art; Advocacy Task Force Co-Leader; Governance & Nominating Committee

DANIEL BELASCO, Executive Director, Al Held Foundation AMANDA CACHIA, Independent Curator CHRISTINA CHANG, Independent Curator ROBIN CLARK, Director, The Artist Initiative, San Francisco Museum of Modern Art LISA DORIN, Interim Director, Williams College Museum of Art MEGAN FONTANELLA, Curator, Modern Art & Provenance, Solomon R. Guggenheim Museum JUDITH HOOS FOX, Independent Curator 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 SARAH LEES, Ruth G. Hardman Curator of European Art, Philbrook Museum of Art JEN MERGEL, Independent Curator; Vice President, Programs; Board of Trustees, Executive Committee Representative KELLI MORGAN, Weisenberger Curatorial Fellow of American Art, Indianapolis Museum of Art at Newfields CHRISTINA NIELSEN, William & Lia Poorvu Curator of the Collection, Isabella Stewart Gardner Museum; Career Support Committee Co-Chair

COMMITTEES, TASK FORCES, & AWARD CHAIR

CAREER SUPPORT COMMITTEE

TANYA PAUL, Isabel & Alfred Bader Curator of European Art, Milwaukee Art Museum LISA ROTONDO-MCCORD, Deputy Director for Curatorial Affairs, Curator of Asian Art, New Orleans Museum of Art ANNE COLLINS SMITH, Curator of Collections, Spelman College Museum of Fine Art; Board of Trustees

COMMITTEES, TASK FORCES, & AWARD CHAIR 16

CONFERENCE BENEFIT COMMITTEE HEATHER ANDERSON, Curator, Carleton University Art Gallery SHARON MATT ATKINS, Director of Curatorial Affairs, Brooklyn Museum; Board of Trustees, Conference Benefit Committee Co-Chair MARIE-EVE BEAUPRÉ, Conservatrice de la Collection, Musée d’art contemporain de Montréal TOBI BRUCE, Director, Exhibitions & Collections, and Senior Curator, Art Gallery of Hamilton; Board of Trustees, Conference Benefit Committee Co-Chair TULIZA FLEMING, Curator & Art Historian, Smithsonian National Museum of African American History & Culture DOMINIQUE FONTAINE, Independent Curator HILLIARD TODD GOLDFARB, Senior Curator, Collections, Curator of Old Masters, Montreal Museum of Fine Arts JEN MERGEL, Independent Curator; Vice President, Programs; Board of Trustees, Executive Committee Representative HAEMA SIVANESAN, Curator, Art Gallery of Greater Victoria GEORGIANA UHLYARIK, Curator, Canadian Art, Art Gallery of Ontario

ELLIOT BOSTWICK DAVIS, John Moors Cabot Chair, Art of the Americas, Museum of Fine Arts, Boston; Board of Trustees CODY HARTLEY, Senior Director, Collections & Interpretation, Georgia Oâ&#x20AC;&#x2122;Keeffe Museum; Vice President, Finance; Board of Trustees; Finance, Fundraising & Audit Committee Chair JULIE JOYCE, Curator of Contemporary Art, Santa Barbara Museum of Art AL MINER, Director, de La Cruz Gallery NICOLE R. MYERS, The Lillian & James H. Clark Curator of European Painting & Sculpture, Dallas Museum of Art MONICA OBNISKI, Demmer Curator of 20th- & 21st-Century Design, Milwaukee Art Museum THERESA PAPANIKOLAS, Curator of European & American Art, Honolulu Museum of Art

COMMITTEES, TASK FORCES, & AWARD CHAIR

FINANCE, FUNDRAISING & AUDIT COMMITTEE

COMMITTEES, TASK FORCES, & AWARD CHAIR 18

GOVERNANCE & NOMINATING COMMITTEE HELEN EVANS, Mary & Michael Jaharis Curator of Byzantine Art, Medieval Art & The Cloisters, The Metropolitan Museum of Art; Past President, Trustee Emerita, ex officio MADHUVANTI GHOSE, Alsdorf Associate Curator of Indian, Southeast Asian, Himalayan & Islamic Art, Department of Asian Art, Art Institute of Chicago; Vice President, Governance, Board of Trustees LAUREN HAYNES, Curator, Contemporary Art, Crystal Bridges Museum of American Art KIKI KAROGLOU, Associate Curator, Greek & Roman Art, The Metropolitan Museum of Art ADAM LEVINE, Associate Director & Associate Curator of Ancient Art, Toledo Museum of Art MARK SCALA, Chief Curator, Frist Art Museum; Governance & Nominating Committee Co-Chair RACHEL SELIGMAN, Assistant Director for Curatorial Affairs, Tang Teaching Museum at Skidmore College JERRY N. SMITH, Chief Curator, The Dayton Art Institute STACI STEINBERGER, Assistant Curator, Decorative Arts & Design, Los Angeles County Museum of Art; Advocacy Task Force Co-Leader LESLIE UREÃ&#x2018;A, Associate Curator of Photographs, Smithsonian National Portrait Gallery LLOYD DE WITT, Chief Curator & Irene Leache Curator of European Art, Chrysler Museum of Art ANN YONEMURA, Senior Associate Curator of Japanese Art, Freer Gallery of Art & Arthur M. Sackler Gallery, Smithsonian Institution; Board of Trustees

FILIZ ÇAKIR PHILLIP, Curator, The Aga Khan Museum TAÍNA CARAGOL, Curator of Latino Art & History, Smithsonian National Portrait Gallery MARGARET C. CONRADS, Director of Curatorial Affairs, Crystal Bridges Museum of American Art DEBORAH CULLEN-MORALES, Director & Chief Curator, The Miriam & Ira D. Wallach Art Gallery, Columbia University KIMBERLI GANT, McKinnon Curator of Modern & Contemporary Art, Chrysler Museum of Art; Inclusion & Access Task Force Co-Leader EMILY HANNA, Senior Curator & Curator of the Arts of Africa & the Americas, Birmingham Museum of Art JAMILLAH JAMES, Curator, Institute of Contemporary Art Los Angeles MICHAEL WELLEN, Curator of International Art (Latin America), Tate Modern MANNY WHEELER, Director, Navajo Nation Museum SYLVIA YOUNT, Lawrence A. Fleischman Curator in Charge of The American Wing, The Metropolitan Museum of Art; Inclusion & Access Task Force Co-Leader

COMMITTEES, TASK FORCES, & AWARD CHAIR

INCLUSION & ACCESS TASK FORCE

COMMITTEES, TASK FORCES, & AWARD CHAIR

MEMBERSHIP COMMITTEE LISA Ã&#x2021;AKMAK, Associate Curator of Ancient Art, Saint Louis Art Museum KATELYN CRAWFORD, The William Cary Hulsey Curator of American Art, Birmingham Museum of Art MARIA SAFFIOTTI DALE, Curator of Paintings, Sculpture & Decorative Arts, Chazen Museum of Art at University of Wisconsin-Madison CATHERINE L. FUTTER, Director of Curatorial Affairs, The Nelson-Atkins Museum of Art; Vice President, Communications; Board of Trustees, Executive Committee Representative MIKE HEARN, Douglas Dillon Chairman, Asian Art, The Metropolitan Museum of Art AMANDA H. HELLMAN, Curator of African Art, Michael C. Carlos Museum at Emory University ROCK HUSHKA, Chief Curator & Curator of Contemporary & Northwest Art, Tacoma Art Museum BRYAN KEENE, Assistant Curator of Manuscripts, J. Paul Getty Museum XERXES MAZDA, Director of Collections, National Museums Scotland THERESA PAPANIKOLAS, Deputy Director of Art & Programs, Honolulu Museum of Art JULIE PIEROTTI, Martha R. Robinson Curator, Dixon Gallery & Gardens; Membership Committee Chair MARSHALL PRICE, Nancy Hanks Curator of Modern & Contemporary Art, Nasher Museum of Art at Duke University MICHELLE RICH, Mellon Postdoctoral Curatorial Fellow, Latin American Art, San Antonio Museum of Art CHEN SHEN, Vice President, Senior Curator, Royal Ontario Museum

MINDY BESAW, Curator, Crystal Bridges Museum of American Art CLAIRE BREUKEL, Executive Director & Curator, Y.ES Contemporary BETH CITRON, Curator, Modern & Contemporary Art, Rubin Museum of Art; Professional Development Committee Co-Chair KRISTIE COUSER, Curatorial Assistant for Works on Paper, Clark Art Institute RYAN N. DENNIS, Public Art Director & Curator, Project Row Houses SANDRA FRASER, Curator, Collections Remai Modern MARGERY KING, Curator, American Federation of Arts AMY LANDAU, Curator of Islamic & South & Southeast Asian Art, Walters Art Museum GABRIELA MARTINEZ, Curator of Education, Museum of Latin American Art JEN MERGEL, Independent Curator; Vice President, Programs; Board of Trustees, Executive Committee Representative DEVI NOOR, Curatorial Assistant, American Art, Los Angeles County Museum of Art DENENE DE QUINTAL, Andrew W. Mellon Postdoctoral Curatorial Fellow in American Indian Art, Denver Art Museum BLAKE RUEHRWEIN, Independent Curator GRACE STEWART, Director of Collections & Exhibitions, Metal Museum; Professional Development Committee Co-Chair

COMMITTEES, TASK FORCES, & AWARD CHAIR

PROFESSIONAL DEVELOPMENT COMMITTEE

YAO-FEN YOU, Associate Curator of European Sculpture & Decorative Arts, Detroit Institute of Arts

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AAMC & AAMC FOUNDATION PROGRAMS

Annual Conference & Meeting A vital part of our mission, and our largest singular program, our Annual Conference gathers art curators from every discipline and type of organization together, providing a unique opportunity to connect across borders, fields, and affiliation. We are thrilled to be hosting our first Conference outside the United States this year. New York City has served as host city each year from 2002-2008, and on alternate years since 2009, when it has also taken place outside of NYC, in cities including Chicago, Boston, Detroit, Houston, and Los Angeles. In 2014 we began additional weekend tours to expand our membersâ&#x20AC;&#x2122; experience within our host city. The multi-day event is open to all AAMC members with additional Conference attendees joining as guests of AAMC, including host city leaders, foundation directors, supporters, sponsors, and luminaries in the field. Last year we held our 16th Annual Conference & Meeting in New York City, May 6-9, 2017. The Conference drew over 450 curators and attendees across disciplines from over 240 organizations and six countries. Sessions centered on destabilizing the canon and strategies and challenges in revisionist curatorial work; addressing implicit bias in hires, acquisitions, audience engagement and project funding; access in respect to visitors, artists, and staff with different physical, cognitive, and sensory abilities; the reinterpretation of permanent collections in museum galleries and period rooms towards being assets of engaging a wider audience; and disrupting the unbalanced work-life balance structure currently within the curatorial field and wider arts community. The program also served to broaden the curatorial view of how organizations can collaborate with communities, embrace new projects and buildings as vehicles for change, and reimagine historical sites and collections as public resources through visiting 15 organizations.

which focused on intergenerational conversations between activist leaders: Monica O. Montgomery, Founding Director & Curator, Museum of Impact, and Tanya M. Odom, Global Diversity & Inclusion & Education Consultant & Executive Coach; and Hank Willis Thomas, Artist, and Deborah Willis, University Professor & Chair of the Department of Photography & Imaging, Tisch School of the Arts, New York University. In 2016, Darren Walker, President of the Ford Foundation, and Hilton Als, staff writer & theatre critic for The New Yorker, led a timely keynote conversation that supported, strengthened, and furthered the diversity and inclusion efforts of AAMC & AAMC Foundation. We look forward to continuing to advance the field through our Conference programming each year.

AAMC & AAMC FOUNDATION PROGRAMS

A highlight of the last Conference was the 2017 Keynote Dialogues,

AAMC & AAMC FOUNDATION PROGRAMS 26

AAMC Foundation Webinars AAMC Foundation’s webinars focus on fundamental skills, issues, and trends that art curators face in their work and help enhance understanding and development in the field. These virtual gatherings connect the organization to its global membership in an easily accessible platform that permits group or individual participation and are recorded to serve as a reference archive. Sessions have been open conversations and one-on-one dialogues on a myriad of topics. In June 2018, AAMC will present a three-part webinar series on the multiple layers of the immense subject research, advances, and issues surrounding provenance. With the establishment of substantial research databases and resources, great progress has been made in researching artworks that may have been subject to unlawful appropriation during the World War II era. As museums work to make their collections accessible online, there is both the need and potential to extend these advances to other categories of objects.

listed by date recorded

2018 Client/Consultant Conversations for Mentors Building Relationships with Individual Donors for Mentees 2017 Articulating Priorities for Collections for Mentees Collegial Collaboration for Mentees Contributing to a Positive Workplace for Mentors Cultivating Opportunities for Research for Mentors Curators and Conservators: Successful Cooperation Curators Thinking Digitally New Approaches to Inclusion in Reinstallation New Approaches to Institutional Partnerships Scaling Back With Successful Impact 2016 Contemporary Ways to Present Historical Art Curating Social Justice: Three Case Studies Development 101 E-Publications â&#x20AC;&#x201C; Why Bother? How to Mentor Those You Manage Management 101 for Mentees Managing in All Directions for Mentors Museum Metrics: Measuring the Tangible and Intangible to Gauge an Exhibitionâ&#x20AC;&#x2122;s Success The Role of Design & Architecture in Museums of Art, History, & Culture

2015 Curators and Community Engagement Curatorial Ethics How Curatorial Projects Get Funded: Navigating the Institutional Machine Label Writing Successful Mentorship Year: For Mentees Successful Mentorship Year: For Mentors 2014 Both Sides of the Board Curating from the Outside CV and Interview Skills How to Be a Mentor Maximizing Your Leadership Planning Your Career Working with Living Artists: A Roadmap to Navigate Commissions, Interpretation, and Contracts Prior Accounting for Curators: Building the Exhibition Budget Authentication and Expertise by Curators Mobile Technology & Curatorial Practice

AAMC & AAMC FOUNDATION PROGRAMS

Archived Webinars available on artcurators.org

AAMC & AAMC FOUNDATION PROGRAMS

In-Conversation is our regional programming series that launched in 2016, bringing together local communities and expanding our own network. With three events a year, each held in a different central regional area, we encourage a dialogue among attendees and make connections across fields, backgrounds, and experiences. The open discussion format of each event enables us to advance important issues within the arts community through a curatorial voice. By continuing to add access to topics including advocacy and inclusion through this series, we hope to foster a dialogue within each local sector. The evening series is organized and supported by the AAMC Foundation, and welcomes members and non-members alike to have an engaging dialogue on a focused, singular subject in an open setting. Following the discussion, AAMC welcomes the audience and speakers to continue the conversation at a brief reception.

Ping Foong, Foster Foundation Curator of Chinese Art, Seattle Art Museum Rodney Hines, Director of Social Impact for U.S. Operations, Starbucks Chiyo Ishikawa, Susan Brotman Deputy Director for Art, Curator of European Painting & Sculpture, Seattle Art Museum; Moderator Elisheba Johnson, Project Manager of Public Art, City of Seattle Tracy Rector, Indigenous Media Activist, Filmmaker and Curator S. Surface, Curator, Designer, and Lecturer Xiaojin Wu, Curator of Japanese and Korean Art, Seattle Art Museum Emily Zimmerman, Director, Jacob Lawrence Gallery Behind the Career Curtain September 2017, Chicago, IL Katelijne de Backer, Director, PULSE Art Fair Lisa Corrin, Ellen Philips Katz Director, The Mary and Leigh Block Museum of Art, Northwestern University Madhuvanti Ghose, Alsdorf Associate Curator of Indian, Southeast Asian, Himalayan, & Islamic Art, The Art Institute of Chicago; AAMC & AAMC Foundation Vice President, Governance, Board of Trustees; Moderator Judith Pineiro, Executive Director, AAMC & AAMC Foundation Spark: Igniting Curiosity, the Curator’s Impact June 2017, Toronto, Canada Nancy Campbell, Independent Curator Deepali Dewan, Dan Mishra Curator, South Asian Arts & Culture, Royal Ontario Museum Sophie Hackett, Curator of Photography, Art Gallery of Ontario; Moderator Luis Jacob, Artist, Curator, & Writer November Paynter, Director of Programs at the Museum of Contemporary Art Toronto Filiz Çakır Phillip, Curator, Aga Khan Museum

AAMC & AAMC FOUNDATION PROGRAMS

Multiple Voices to Build Inclusion April 2018, Seattle, WA

AAMC & AAMC FOUNDATION PROGRAMS

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 & Programs, California African American Museum Bill Kelley, Jr., Lead Curator & Researcher, Talking to Action, Ben Maltz Gallery, Otis College of Art & 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, and Consulting Curator for African Art, Los Angeles County Museum of Art; Moderator Addressing Implicit Bias in Museums November 2016, Washington, D.C. Christa Clarke, Senior Curator, Arts of Global Africa, Newark Museum; AAMC & AAMC Foundation President, Board of Trustees; Moderator Eduardo DĂaz, Director, Smithsonian Latino Center Elizabeth Easton, Co-Founder and Director, Center for Curatorial Leadership; AAMC & AAMC Foundation Past President, Trustee Emerita E. Carmen Ramos, Curator of Latino Art, Smithsonian American Art Museum; AAMC & AAMC Foundation Board of Trustees Kimberly J. Wilson, Deputy Director for Human Resources, Volunteers, Community Service, Virginia Museum of Fine Arts A video welcome address was delivered by Dr. Johnnetta Betsch Cole, Director, Smithsonian National Museum of African Art.

John B. Ravenal, Executive Director, deCordova Sculpture Park and Museum; AAMC & AAMC Foundation Past President, Trustee Emeritus; Moderator 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 of 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 Department of Medieval Art & The Cloisters, The Metropolitan Museum of Art; AAMC & AAMC Foundation Past President, Trustee Emerita; Moderator Emily K. Rafferty, President Emerita, The Metropolitan Museum of Art Ian Wardropper, Director, The Frick Collection

AAMC & AAMC FOUNDATION PROGRAMS

Museum Directors on the Curatorial Role September 2016, Boston, MA

The 2016 In-Conversation series was generously supported in part by Christie’s. 31

AAMC & AAMC FOUNDATION PROGRAMS

In 2017, the AAMC Foundation and the Roy Rosenzweig Center for History and New Media (RRCHNM) at George Mason University (GMU) launched The Networked Curator with funding from the Samuel H. Kress and Getty Foundations. Two three-day digital literacy workshops engaged 12-15 art curators in the noncommercial sector who work with or without direct or full-time museum affiliation, and are representative of varying fields of study, stages of career, self-identifiers, and geographical locations. Attendees gained 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 empowered attendees to participate actively in digital initiatives, encouraged collaboration and content sharing, and allowed them to connect better with the public in digital formats. In continuing to advance the conversation and highlight the work of the program, Judith Pineiro, Executive Director, AAMC & AAMC Foundation and Sheila A. Brennan, Director of Strategic Initiatives and Acting Director of Public Projects, Roy Rosenzweig Center for History and New Media, George Mason University, developed, as part of the

Conference in November 2017. Together with José Diaz, Chief Curator, The Warhol Museum; Sarah Hall, Chief Curator, Director of Collections, Frick Art and Historical Center, Networked Curator Alumni; Christina Nielsen, William and Lia Poorvu Curator of the Collection, Isabella Stewart Gardner Museum; and Koven Smith, Director of Digital Adaptation, Blanton Museum of Art, the panel discussed the benefits and challenges as art museums implement— or begin to reframe—institutional strategies that integrate digital components across departments, and discussed the Networked Curator program. The AAMC Foundation is grateful to the Getty Foundation and the Samuel H. Kress Foundation for their major support of The Networked Curator program.

AAMC & AAMC FOUNDATION PROGRAMS

grant, a program session at the Museum Computer Network (MCN)

AAMC & AAMC FOUNDATION PROGRAMS 34

Programming Produced with Partner Organizations 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 these efforts we forge ahead to make better relationships for greater impact. Recent Programming AAMC at Museum Computer Network (MCN) Conference Curators and Digerati Unite! Engaging Curators! Inclusivity and Collaboration Across Institutions AAMC & National Coalition Against Censorship (NCAC) Workshop Handling Controversy Association of Art Museum Directors (AAMD) & AAMC Program Discussion and Workshop on Provenance, Cultural Property, and Evolving Ivory Laws Art Dealers Association of American (ADAA) & AAMC Reception Presenting the ADAA Curatorial Research & Development Awards AAMC Affiliated Sessions at College Art Association (CAA) Mobilizing the Collection 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

Association of Art Museum Curators

AAMC PROVENANCE WEBINAR SERIES The AAMC Foundation is honored to present a series of three webinars on research, advances, and issues surrounding provenance. Members and non-members alike can register directly online, with rate packages available.

WEBINAR 1: Advances in WWII Era Research June 12, 2018 WEBINAR 2: Going Beyond WWII Era Research June 19, 2018 WEBINAR 3: Sharing Research, Asking New Questions June 26, 2018

AAMC FOUNDATION FELLOWSHIPS

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-US based curators and three US 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 cross-border conversations, and spearheading international representation within AAMCâ&#x20AC;&#x2122;s membership & AAMC Foundationâ&#x20AC;&#x2122;s efforts.

The AAMC Foundation is grateful for major support of this Program from the Terra Foundation for American Art. 36

2016 – 2018 Class

LAURENCE SCHMIDLIN, Curator, Musée Cantonal des Beaux-Arts de Lausanne; International Awardee STEPHANIE BARRON, Senior Curator, Head of Modern Art Department, Los Angeles County Museum of Art; US Liaison

NICHOLAS MICHAEL CHAMBERS, Senior Curator, Modern & 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; US Liaison; AAMC & AAMC Foundation Board of Trustees

CATHERINE SINCLAIR, Senior Curator, Ottawa Art Gallery; International Awardee COURTNEY MCNEIL, Chief Curator of Collections & Exhibitions, Telfair Museums; US Liaison

SARAH ANNE LEA, Curator, Royal Academy of Arts; International Awardee CAROL S. ELIEL, Curator of Modern Art, Los Angeles County Museum of Art; US Liaison; AAMC & AAMC Foundation Past President, Trustee Emerita 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; US Liaison

AAMC FOUNDATION FELLOWSHIPS

2017 – 2019 Class

AAMC FOUNDATION FELLOWSHIPS

Mentorship Program 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.

We are thankful to the Emily Hall Tremaine Foundation and the AAMC Foundation Presidentâ&#x20AC;&#x2122;s Circle for their support of this program.

XANDRA EDEN, Executive Director & Chief Curator, Diverseworks; Mentor ZOMA WALLACE, Curator, DC Commission on the Arts and Humanities; Mentee LISA DORIN, Deputy Director, Williams College Museum of Art; Career Support Committee Liaison SUZANA MILEVSKA, Principle Researcher, Polytechnic University, Milan; Mentor RYAN DENNIS, Public Art Director & Curator, Project Row Houses; Mentee PAUL HA, Director, List Visual Arts Center, MIT; Career Support Committee Liaison T. BARTON THURBER, Associate Director for Collections & Exhibitions, Princeton University Art Museum; Mentor LISA SUTCLIFFE, Curator of Photography & Media Arts, Milwaukee Art Museum; Mentee ROBIN CLARK, Director, The Artist Initiative, San Francisco Museum of Modern Art; Career Support Committee Liaison 2016-2017 CLASS RENÉ PAUL BARILLEAUX, Head of Curatorial Affairs, McNay Art Museum; Mentor ELYSE A. GONZALES, Assistant Director & Curator of Exhibitions, Art, Design & Architecture Museum, UC Santa Barbara; Mentee MICHELLE JACQUES, Chief Curator, Art Gallery of Greater Victoria; Career Support Committee Liaison; AAMC & AAMC Foundation Board of Trustees, Career Support Committee Co-Chair

GRAHAM C. BOETTCHER, R. Hugh Daniel Director, Birmingham Museum of Art; Mentor JOHANNA G. SEASONWEIN, Adjunct Instructor, Robert D. Clark Honors College, University of Oregon; Mentee MARY-KAY LOMBINO, Emily Hargroves Fisher ’57 and Richard B. Fisher Curator & Assistant Director of Strategic Planning, The Frances Lehman Loeb Art Center, Vassar College; Career Support Committee Liaison LARRY NICHOLS, William Hutton Curator, European & American Art, Toledo Museum of Art; Mentor ELIZABETH ATHENS, Postdoctoral Research Associate, Center for Advanced Study in the Visual Arts (CASVA), National Gallery of Art; Mentee CHRISTINA NIELSEN, Curator of the Collection, Director of Program Planning, Isabella Stewart Gardner Museum; Career Support Committee Liaison; AAMC & AAMC Foundation Career Support Committee Co-Chair

AAMC FOUNDATION FELLOWSHIPS

2017-2018 CLASS

MARK SCALA, Chief Curator, Frist Art Museum; Mentor; AAMC & AAMC Foundation Governance and Nominating Committee Co-Chair TAMARA SCHENKENBERG, Associate Curator, Pulitzer Arts Foundation; Mentee KLAUDIO RODRIGUEZ, Deputy Director, Bronx Museum of the Arts; Career Support Committee Liaison APRIL M. WATSON, Associate Curator of Photography, Nelson-Atkins Museum of Art; Mentor DIANA GREENWOLD, Associate Curator of American Art, Portland Museum of Art; Mentee PAULA RICHTER, Curator for Exhibitions & Research, Peabody Essex Museum; Career Support Committee Liaison 39

AAMC FOUNDATION FELLOWSHIPS

2015-2016 CLASS SUSAN EARLE, Curator, European & American Art, Spencer Museum of Art, University of Kansas; Mentor EMILIA LAYDEN, Curator of Collections & Exhibitions, Haggerty Museum of Art; Mentee MARY-KAY LOMBINO, Emily Hargroves Fisher â&#x20AC;&#x2122;57 and Richard B. Fisher Curator & Assistant Director of Strategic Planning, The Frances Lehman Loeb Art Center, Vassar College; Career Support Committee Liaison ELIZABETH FINCH, Lunder Curator of American Art, Colby College Museum of Art; Mentor WHITNEY TASSIE, Curator of Modern & Contemporary Art, Utah Museum of Fine Arts; Mentee ELLEN E. ROBERTS, Harold & Anne Berkley Smith Curator of American Art, Norton Museum of Art; Career Support Committee Liaison ALISON DE LIMA GREENE, Isabel Brown Wilson Curator of Modern & Contemporary Art, Museum of Fine Arts, Houston; Mentor; AAMC & AAMC Foundation Board of Trustees LAUREN HAYNES, Curator, Contemporary Art, Crystal Bridges Museum of American Art; Mentee JERRY SMITH, Chief Curator, Dayton Art Institute; Career Support Committee Liaison MITCHELL MERLING, Paul Mellon Curator of European Art, Virginia Museum of Fine Arts; Mentor CAITLIN CONDELL, Associate Curator & Head, Department of Drawings, Prints, & Graphic Design, Cooper Hewitt, Smithsonian Design Museum; Mentee

ANDALEEB BADIEE BANTA, Curator of European & American Art, Allen Memorial Art Museum, Oberlin College; Career Support Committee Liaison LISA ROTONDO-MCCORD, Deputy Director for Curatorial Affairs, New Orleans Museum of Art; Mentor AMANDA HELLMAN, Curator of African Art, Michael C. Carlos Museum; Mentee LAUREN ROSS, Inaugural Curator, Virginia Commonwealth University, ICA; Career Support Committee Liaison 2014-2015 CLASS JUDITH BRODIE, Curator & Head of American & Modern Prints, National Gallery of Art; Mentor NANCY BURNS, Associate Curator of Prints, Drawings, and Photographs, Worcester Art Museum; Mentee CAROL S. ELIEL, Curator of Modern Art, Los Angeles County Museum of Art; Career Support Committee Liaison; AAMC & AAMC Foundation Past President, Trustee Emerita STEPHEN HARRISON, Curator of Decorative Arts & Design, The Cleveland Museum of Art; Mentor ELIZABETH SIEGEL, Associate Curator of Photography, The Art Institute of Chicago; Mentee CATHERINE L. FUTTER, Director of Curatorial Affairs, Nelson-Atkins Museum of Art; Career Support Committee Liaison; AAMC & AAMC Foundation Board of Trustees, Vice President, Communications JUDY MANN, Curator of European Art, St. Louis Museum of Art; Mentor TANYA PAUL, Curator of European Art, Milwaukee Museum of Art; Mentee

ELIZABETH SMITH, Executive Director, Helen Frankenthaler Foundation; Mentor; AAMC & AAMC Foundation Board of Trustees LIA ZAALOFF, Independent Curator; Mentee BROOKE DAVIS ANDERSON, Edna S. Tuttleman Director of the Museum, Pennsylvania Academy of the Fine Arts; Career Support Committee Liaison CINDI STRAUSS, Assistant Director, Programming & Curator for Modern & Contemporary Decorative Arts, Museum of Fine Arts, Houston; Mentor BRIAN SHOLIS, Executive Director, Gallery TPW; Mentee JERRY SMITH, Chief Curator, Dayton Art Institute; Career Support Committee Liaison 2013-2014 CLASS CONNIE BUTLER, Chief Curator, Hammer Museum, UCLA; Mentor XANDRA EDEN, Executive Director & Chief Curator, DiverseWorks; Mentee JAY CLARKE, Rothman Family Curator in the Department of Prints & Drawings, The Art Institute of Chicago; Mentor ANDALEEB BADIEE BANTA, Curator of European & American Art, Allen Memorial Art Museum, Oberlin College; Mentee

RITA FREED, John F. Cogan Jr. & Mary L. Cornille Chair, Art of the Ancient World, Museum of Fine Arts, Boston; Mentor LISA CAKMAK, Associate Curator of Ancient Art, St. Louis Museum of Art; Mentee CATHERINE L. FUTTER, Director of Curatorial Affairs, Nelson-Atkins Museum of Art; Mentor; AAMC & AAMC Foundation Board of Trustees; Executive Committee; Vice President, Communications ANNE COLLINS SMITH, Curator of Collections, Spelman College Museum of Fine Art; Mentee; AAMC & AAMC Foundation Board of Trustees; Career Support Committee MARY-KAY LOMBINO, Emily Hargroves Fisher â&#x20AC;&#x2122;57 and Richard B. Fisher Curator & Assistant Director of Strategic Planning, The Frances Lehman Loeb Art Center, Vassar College; Mentor MARISA PASCUCCI, Director of Programs, New Gallery of Modern Art; Mentee LARRY NICHOLS, William Hutton Curator, European & American Art, Toledo Museum of Art; Mentor VIRGINIA BRILLIANT, Curator in Charge of European Paintings, Fine Arts Museum of San Francisco; Mentee

AAMC FOUNDATION FELLOWSHIPS

ANDREA BAYER, Jayne Wrightsman Curator, The Metropolitan Museum of Art; Career Support Committee Liaison

MARK SCALA, Chief Curator, Frist Art Museum; Mentor; AAMC & AAMC Foundation Governance and Nominating Committee Co-Chair CATRINA HILL, Mentee

JOHN W. COFFEY, Deputy Director for Art, Curator of American & Modern Art, North Carolina Museum of Art; Mentor SANDRA FIRMIN, Director & Chief Curator, Colorado University Art Museum; Mentee; AAMC & AAMC Foundation Board of Trustees 41

AAMC FOUNDATION FELLOWSHIPS

Samuel H. Kress Foundation and Association of Art Museum Curators Affiliated Fellowship at the American Academy in Rome The Samuel H. Kress Foundation and AAMC Affiliated Fellowship at the American Academy in Rome (AAR) honors exceptional curatorial vision and assists curators in advancing deserving projects by providing essential funding for required research in Italy. Awarded projects may be on any subject, and do not need to be Rome or Italian specific, especially as the city’s artistic patrimony, as well as the rich content of its museums, libraries, and archives, are portals to conducting work on a myriad of subjects from all arts disciplines and time periods. Fellowship Awardees 2018-2019 SETH PEVNICK, Chief Curator & Richard E. Perry Curator of Greek & Roman Art, Tampa Museum of Art/Cornelia Corbett Center; research on Lions and Heroes in the Classical World 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

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 2015-2016 JUDITH MANN, Curator, European Art to 1800, Saint Louis Art Museum; research on Painting on Stone, 1520-1800 2014-2015 HILLIARD TODD GOLDFARB, Senior Curator, Collections, Curator of Old Masters, Montreal Museum of Fine Arts; research on Faith, Death and Eternal Life in the Art of Poussin

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. 42

AAMC Foundation awards Travel Grant Fellowships to attend our Annual Conference & Meeting. Many junior curators have 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 junior curators with no or little funds allocated for professional development travel to attend our Conference. Since 2010 alone, nearly 200 individual Travel Grants fellowships were awarded.

AAMC FOUNDATION FELLOWSHIPS

Conference Travel Fellowships

The AAMC Foundation is grateful to the Getty Foundation, Samuel H. Kress Foundation and the Henry Luce Foundation for their support of the Conference Travel Fellowship Program. 43

AAMC FOUNDATION FELLOWSHIPS

Travel Grant Fellowship in American Art STEPHANIE DELAMAIRE, Associate Curator, Fine Arts, Winterthur Museum KATIE WOOD KIRCHHOFF, Associate Curator, Shelburne Museum ANNA MARLEY, Curator of Historical American Art, Pennsylvania Academy of Fine Arts COREY PIPER, Brock Curator of American Art, Chrysler Museum of Art DULCE ROMAN, Curator of Modern Art, Harn Museum of Art, University of Florida STACI STEINBERGER, Associate Curator, Decorative Arts & Design, Los Angeles County Museum of Art; AAMC & AAMC Foundation Advocacy Task Force Co-Leader; AAMC & AAMC Foundation Governance & Nominating Committee JONATHAN FREDERICK WALZ, Director of Curatorial Affairs & Curator of American Art, The Columbus Museum

Travel Grant Fellowship for Junior Curators PETER DOEBLER, Kettering Postdoctoral Curatorial Assistant in Asian Art, The Dayton Art Institute ANDREW ESCHELBACHER, Associate Curator of European Art, Portland Museum of Art OLIVIER HURSTEL, Curatorial Fellow, Philadelphia Museum of Art CLAIRE KOVACS, Director, Augustana Teaching Museum of Art, Augustana College VIVIAN LI, Associate Curator of Asian Art/Global Contemporary, Worcester Art Museum MIA LOPEZ, Assistant Curator, DePaul Art Museum MIA MATTHIAS, Curatorial Fellow in Painting & Sculpture, Museum of Modern Art MARGARET POWELL, Curatorial Assistant, Carnegie Museum of Art NIAMA SAFIA SANDY, Curator, No Longer Empty

DENENE DE QUINTAL, Andrew W. Mellon Postdoctoral Curatorial Fellow, Denver Art Museum; AAMC & AAMC Foundation Professional Development Committee

BRYAN BARCENA, Assistant Curator & Manager of Publications, The Museum of Contemporary Art, Los Angeles DAVID EVANS FRANTZ, Curator, ONE Archives at the USC Libraries MARCELA GUERRERO, Assistant Curator, Whitney Museum DANIELA LIEJA QUINTANAR, Curator, LACE Los Angeles Contemporary Exhibitions DIVA ZUMAYA, Curatorial Assistant, Santa Barbara Museum of Art

Travel Grant Fellowship for Alumni of the Getty’s Multicultural Undergraduate Internship Program MAKAYLA BAILEY, Program and Curatorial Assistant, LAXART CYNTHIA GONZALEZ-BRÉART, Assistant Curator, Publications Manager, Foundation for the Exhibition of Photography (FEP)

AAMC FOUNDATION FELLOWSHIPS

Travel Grant Fellowship for Emerging Curators from Pacific Standard Time: LA/LA Exhibitions

NEVIN KALLEPALLI, Social Media Coordinator, The Museum of Contemporary Art, Los Angeles ALEXA KIM, Program Coordinator, Self Help Graphics & Art RODY LOPEZ, MFA Exhibition Design Student, California State University, Fullerton JASMINE MAGAÑA, Curatorial Assistant, Albright-Knox Art Gallery JORGE MARTINEZ, Cultural Programs Coordinator, Library Foundation of Los Angeles NICOLAS OROZCO-VALDIVIA, Assistant Curator, The Mistake Room HEBER RODRIGUEZ, Arts Associate, City of Los Angeles Department of Cultural Affairs YAO-FEN YOU, Associate Curator of European Sculpture & Decorative Arts, Detroit Institute of Arts; AAMC & AAMC Foundation Professional Development Committee

AWARDS FOR EXCELLENCE PRESENTED BY PACART 46

Awards for Excellence presesented by PACART The Awards for Excellence, highly esteemed by art curators everywhere, is the only award of its kind by which curators directly honor the work of their colleagues. This year, we are pleased to announce the 2018 Awards for Excellence presented by PACART. AAMC received nearly 170 nominations, from there, 11 projects were selected as Awardees. A special thank you to our Awards for Excellence Chair, Jennifer Komar Olivarez, Head of Exhibition Planning and Strategy and Interim Curator, Purcell-Cutts House, Minneapolis Institute of Art, and to all our jurors. We are delighted to celebrate the achievements of this year’s Awardees at the Musée d’art contemporain de Montréal with PACART as our sponsor.

CATALOGUE AWARD CATEGORIES ORGANIZATION WITH AN OPERATING BUDGET UNDER $5 MILLION Awardee C. ONDINE CHAVOYA, Professor of Art & Latina/o Studies, Williams College DAVID EVANS FRANTZ, Curator, ONE National Gay & Lesbian Archives at the USC Libraries Both for Axis Mundo: Queer Networks in Chicano L.A. at the ONE National Gay & Lesbian Archives at the USC Libraries ORGANIZATION WITH AN OPERATING BUDGET OF $5-$15 MILLION Awardee JULIUS BRYANT, Keeper of Word & Image, Victoria & Albert Museum SUSAN WEBER, Director & Founder, Iris Horowitz Professor in the History of the Decorative Arts, Bard Graduate Center Both for John Lockwood Kipling: Arts & Crafts in the Punjab and London at Bard Graduate Center ORGANIZATION WITH AN OPERATING BUDGET OF $15-$30 MILLION Awardee MATTHEW H. ROBB, Chief Curator, Fowler Museum at UCLA For Teotihuacan: City of Water, City of Fire at the Fine Arts Museums of San Francisco, de Young ORGANIZATION WITH AN OPERATING BUDGET OVER $30 MILLION Awardees (tie) CARMEN C. BAMBACH, Curator, Department of Drawings & Prints, The Metropolitan Museum of Art ILONA KATZEW, Curator & Department Head, Latin American Art, Los Angeles County Museum of Art For Painted in Mexico, 1700-1790: Pinxit Mexici at the Los Angeles County Museum of Art For Michelangelo: Divine Draftsman and Designer at The Metropolitan Museum of Art

AWARDS FOR EXCELLENCE PRESENTED BY PACART

2018 Award for Excellence Presented by PACART

AWARDS FOR EXCELLENCE PRESENTED BY PACART 48

EXHIBITION AWARD CATEGORIES ORGANIZATION WITH AN OPERATING BUDGET UNDER $5 MILLION Awardee LESLIE ANNE ANDERSON, Curator of European, American, & Regional Art, Utah Museum of Fine Arts For American and Regional Art: Mythmaking & TruthTelling at the Utah Museum of Fine Arts ORGANIZATION WITH AN OPERATING BUDGET OF $5-$15 MILLION Awardees KEVIN D. DUMOUCHELLE, Curator, National Museum of African Art, Smithsonian Institution CHRISTINE M. KREAMER, Deputy Director/Chief Curator, National Museum of African Art, Smithsonian Institution KAREN E. MILBOURNE, Curator, National Museum of African Art, Smithsonian Institution For Visionary: Viewpoints on Africaâ&#x20AC;&#x2122;s Arts at the National Museum of African Art, Smithsonian Institution ORGANIZATION WITH AN OPERATING BUDGET OF $15-$30 MILLION Awardee E. CARMEN RAMOS, Deputy Chief Curator & Curator of Latino Art; AAMC & AAMC Foundation Board of Trustees For Down These Mean Streets: Community and Place in Urban Photography at the Smithsonian American Art Museum ORGANIZATION WITH AN OPERATING BUDGET OVER $30 MILLION Awardee DIANA MAGALONI KERPEL, Director of the Program for the Art of the Ancient Americas, Deputy Director, Los Angeles County Museum of Art JUAN CORONEL RIVERA, Independent Curator, co-curator on behalf of the Museum of the Palace of Fine Arts For Picasso and Rivera: Conversations Across Time at the Los Angeles County Museum of Art

Awardee ANNE MONAHAN, Independent Scholar & Curator For “’Working My Thought More Perfectly’: Horace Pippin’s The Lady of the Lake” in the Metropolitan Museum Journal DIGITAL PUBLICATION CATEGORY Awardee ELIZABETH SIEGEL, Curator of Photography, The Art Institute of Chicago For Hugh Edwards at the Art Institute of Chicago, 1959–1970 at The Art Institute of Chicago

AWARDS FOR EXCELLENCE PRESENTED BY PACART

ARTICLE, ESSAY, OR EXTENDED CATALOGUE CATEGORY

MICHAL AND RENATA HORNSTEIN PAVILION FOR PEACE

"The MMFA was already one of North America’s great art museums. Now, with its fifth pavilion, the museum has added a stunningly fresh new space.''

“One can truly say that the MMFA is building a community for art from the ground up.”

— Forbes, New York

“A Gem on Quebec’s Art Scene”

— The Globe and Mail, Toronto

— Montreal Gazette

“Wellbeing at the Heart of MMFA Extension” — The Art Newspaper, London

“A new light-filled pavilion, a cultural showcase that opens up onto the city” — Les Affaires, Montreal

The construction of the Michal and Renata Hornstein Pavilion for Peace was made possible by the Government of Québec. The reinstallation of the Museum’s collections of international art was funded in part by the Government of Canada. Galleries in the Michal and Renata Hornstein Pavilion for Peace. Photos © Marc Cramer

Lucia | Marquand develops, designs, and produces books with museums, artists, creative professionals, publishers, and collectors. 1400 second avenue seattle, wa 98101 (206) 624-2030 luciamarquand.com

Presented annually to a Canadian artist age 40 and under, the award celebrates some of our countryâ&#x20AC;&#x2122;s most exciting young artists and provides significant financial recognition. dates to remember Longlist Announcement 17 April 2018 Shortlist Announcement 29 May 2018 Shortlist Exhibition 3 October 2018 â&#x20AC;&#x201C; 10 February 2019 Award Announcement Gala 14 November 2018 National Gallery of Canada, Ottawa gallery.ca/sobey

Funded by

A U C T I O N S | A P P R A I S A L S | E S TAT E I N V E N T O R I E S

GOLTZIUS, Hendrick (1558-1617)

ROLEX PAUL NEWMAN

SOLD $480,000

SOLD $115,000

JADE

SOLD $312,000

Free Appraisals CHRISTIAN HILLAN - LONDRES – 1736

GOLD AND CITRINES

SOLD $58,000

Romanée-Conti 1972, DRC

SOLD $28,000

SOLD $18,000

DI MODICA, Arturo (1941-)

SOLD $183,000

870, RUE DU COUVENT, MONTRÉAL H4C 2R6 info@iegor.net | 1.514.344.4081

IEGOR.NET

BOUCHER, Pierre (1622-1717)

SOLD $97,000

AAMC FOUNDATION SPONSORS & SUPPORTERS 56

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

DAVID L. KLEIN FOUNDATION

AAMC FOUNDATION SPONSORS & SUPPORTERS

CORPORATE SUPPORTERS

We are grateful to Sotheby’s for their lead corporate support of this year’s Conference. 57

AAMC FOUNDATION CIRCLE DONORS

Circle Donors AAMC has expanded offerings and delved into important issues facing the museum world, but we still have so much more to accomplish. And, Circle level gifts help us do so. AAMC Circle individual giving levels consist of those dedicated to work, such as collectors, dealers, specialists, curators, directors, and leaders in the art community who contribute $2,500 or more annually. As part of this annual high-level donor group you will receive invitations to exclusive events and programs throughout the year to connect with curators and those supporting the field. Circle level donors support the AAMC Foundation’s programming. We are grateful for their support, and applaud their passion for the curatorial profession. AAMC Foundation Circle Level Giving President’s Circle $5,000 and above annually ($200 non tax-deductible) • Invitation to an exclusive event organized by AAMC • VIP invitation to the Annual Circle Donor reception during the AAMC & AAMC Foundation Conference • Invitations to programs and special events, as accessibility permits • Subscription to AAMC’s e-newsletter • Listing online within AAMC website and newsletter and in print within Conference catalogue • Opportunity to bring a guest at no charge to select AAMC events The President’s Circle supports, in part, AAMC Foundation’s programming.

Benefactor Circle $2,500 annually ($50 non tax-deductible) • VIP invitation to the Annual Circle Donor reception during the AAMC & AAMC Foundation Conference • Invitations to programs and special events, as accessibility permits • Subscription to AAMC’s e-newsletter • Listing online within AAMC website and newsletter and in print within Conference catalogue The Benefactor Circle supports, in part, the AAMC Foundation’s professional development activities.

January 1, 2017 – February 15, 2018 PRESIDENT’S CIRCLE JAMES & JANE COHAN MRS. MARLENE HAYS MR. & MRS. BARNETT & SHIRLEY HELZBERG JR. FREDERICK ISEMAN ANN TENENBAUM & THOMAS H. LEE SUSAN WEBER BENEFACTOR CIRCLE LISA ACKERMAN THE BROAD FOUNDATION MELISSA CHIU CHRISTA CLARKE LISA DENNISON SKAWENNATI FRAGNITO MADHUVANTI GHOSE CARA KRMPOTICH ED MARQUAND

AAMC FOUNDATION CIRCLE DONORS

CIRCLE DONORS

RUTH PHILLIPS CYNTHIA HAZEN POLSKY & LEON POLSKY JOHN B. RAVENAL ELIZABETH SMITH ANN YONEMURA

AAMC SUSTAINING MEMBERS 60

Sustaining Membership Sustaining Members are the most visible advocates for the profession and AAMC’s mission. In acknowledgment of their generosity and leadership, Sustaining Members receive exclusive access beyond that of general membership. Gifts at this level provide critical support to the organization.

Sustaining Membership $750 • Dues at this level provide impactful support for AAMC by sustaining our work for current and future generations • Complimentary membership within AAMC, including the benefits of general membership listed below • 10% discount on Conference registration fees and VIP service in registering • An invitation to our private Annual Circle Donor reception held during the AAMC & AAMC Foundation Conference • Special access to select programs and special events, as accessibility permits • Subscription to AAMC’s e-newsletter • Inclusion in Donor listing within our Conference catalogue, website, and more

January 1, 2017 - February 15, 2018 LYNNE AMBROSINI DITA AMORY PAOLA ANTONELLI STEPHANIE BARRON EMILY BRAUN NICHOLAS CHAMBERS JULIA COURTNEY CAROL S. ELIEL CATHERINE EVANS LINDA FERBER CATHERINE L. FUTTER JOHN STUART GORDON

AAMC SUSTAINING MEMBERS

Sustaining Members

ALISON DE LIMA GREENE GLORIA GROOM BENJAMIN HICKEY NORMAN KLEEBLATT WOLFRAM KOEPPE MARIANNE LAMONACA SARAH LEA JEN MERGEL MARISA J. PASCUCCI FERNANDA MENDONÃ&#x2021;A PITTA EMILY RAUH PULITZER CAROLYN M. PUTNEY ANNEMARIE SAWKINS CLAIRE SCHNEIDER ANN TEMKIN GEORGIANA UHLYARIK

AAMC FOUNDATION ANNUAL FUND DONORS 62

Annual Fund Donors We are grateful to all our Annual Fund donors for their support. January 1, 2017 - February 15, 2018 Lynne D. Ambrosini Katharine Baetjer Rene Paul Barilleaux Graham Corray Boettcher Beth Citron Kelly Conway Deborah Cullen-Morales Helen and Robert Evans Linda Ferber Elizabeth Finch Sandra Q. Firmin Lisa Fischman Jay McKean Fisher Diane Frankel Madhuvanti Ghose Gloria Lynn Groom Sarah J. Hall Rebecca Hart Cody Hartley Marna Hill Stacy C. Hollander Chiyo Ishikawa Barbara L. Jones Julie Joyce Joan L. Kalkin Sarah Kianovsky Ellen Lee Barbara Buhler Lynes Karen Manchester C. Griffith Mann Joan R. Mertens Kathryn Minard Mary Morton Emily Ballew Neff Christina M. Nielsen

Monica Obniski Jennifer Komar Olivarez Kimberly Orcutt Theresa Papanikolas Constantine Petridis Jordana Pomeroy Jennifer Casler Price Emily Rauh Pulitzer Allyson Purpura Carolyn M. Putney Emily Rafferty E. Carmen Ramos Mark Scala Jon Seydl Lowery Stokes Sims Will South Philip Andrew Spahr Joaneath A. Spicer Thayer Tolles Michael & Stark Ward Kristina Wilson Kimberly J. Wilson Linda Wolk-Simon Stephan Wolohojian

January 1, 2017 - February 15, 2018 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 Art Institute of Chicago The Baltimore Museum of Art Birmingham Museum of Art Boca Raton Museum of Art Boston Athenaeum Brooklyn Museum Canadian Centre for Architecture Cheekwood Botanical Garden and Museum of Art Cincinnati Art Museum Sterling & Francine Clark Art Institute The Cleveland Museum of Art Colby College Museum of Art

Cornell Fine Arts Museum Corning Museum of Glass Currier Museum of Art deCordova Sculpture Park and 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 and Historical Center The Frick Collection Frist Art Museum Fuller Craft Museum Isabella Stewart Gardner Museum Iris & B. Gerald Cantor Center for Visual Arts

AAMC INSTITUTIONAL MEMBERS

AAMCâ&#x20AC;&#x2122;s institutional members provide critical support for our organization. By being an institutional member the museums and organizations below are highlighting their commitment to the curatorial profession and their desire to see it flourish.

AAMC INSTITUTIONAL MEMBERS 64

Gilcrease Museum J. Paul Getty Museum Solomon R. Guggenheim Museum Halsey Institute of Contemporary Art Hammer Museum of Art Harvard Art Museums Hillwood Estate, Museum & Gardens Hood Museum of Art The Jewish Museum Herbert F. Johnson Museum of Art Mildred Lane Kemper Art Museum Kimbell Art Museum Los Angeles County Museum of Art Mary and Leigh Block Museum of Art Mead Art Museum Memphis Brooks Museum of Art The Menil Collection The Metropolitan Museum of Art 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 Contemporary Art Jacksonville 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 National Gallery of Art National Gallery of Canada National Museum of African Art The Nelson-Atkins Museum of Art Nevada Museum of Art New Orleans Museum of Art North Carolina Museum of Art Georgia O’Keeffe Museum Oakland Museum of California The Oriental Institute

University of Iowa Museum of Art Virginia Museum of Fine Arts Vizcaya Museum and Gardens The Wadsworth Atheneum Museum of Art Washington County Museum of Fine Arts Wellin Art Museum Wexner Center for the Arts Whitney Museum of American Art Wichita Art Museum Williams College Museum of Art Winterthur Museum, Garden and Library Worcester Art Museum Yale Center for British Art Yale University Art Gallery Jane Voorhees Zimmerli Art Museum

AAMC INSTITUTIONAL MEMBERS

David Owsley Museum of Art Palm Springs Art Museum The Palmer Museum of Art Parrish Art Museum Peabody Essex Museum Philadelphia Museum of Art Picker Art Gallery, 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 Skirball Cultural Center Smithsonian American Art Museum The Studio Museum in Harlem Tampa Museum of Art Telfair Museums The Frances Young Tang Teaching Museum and Art Gallery The Tarble Arts Center Toledo Museum of Art Tufts University Art Gallery UB Art Galleries UC Berkeley Art Museum and Pacific Film Archive

CONFERENCE SPONSORS & SUPPORTERS 66

Thank you to the following for their support & enthusiasm for the AAMC & AAMC Foundation 2018 Conference & Meeting: LEAD CONFERENCE SPONSOR

AWARDS FOR EXCELLENCE SPONSOR

CONFERENCE CORPORATE & FOUNDATION SPONSORS

We are grateful to those listed here for their dedication and commitment to the 2018 Annual Conference & Meeting. Lisa Ackerman Heather Anderson Caroline Andrieux Sharon Matt Atkins Anne Bertrand Nathalie Bondil Megan Bradley Tobi Bruce Marie-Eve Beaupré Hannah Byers Flora Camilleri Tayla Camp Taina Caragol Christa Clarke Pip Day Louise Déry André Delisle Antoine Ertaskiran Tuliza Fleming

Dominique Fontaine Skawennati Catherine L. Futter Kimberli Gant Madhuvanti Ghose Hilliard Todd Goldfarb Pinar Goodstone Phoebe Greenberg Cody Hartley Kirstin Huber Marie-Josée Jean Evie Joselow Cara Krmpotich Geneviève Lafaille Francine Lelièvre Lucy Lydon Geneviève Marchand Jen Mergel Isabelle de Mévius

Charmaine A. Nelson Gwendolyn Owens Filiz Çakır Phillip Ruth Phillips Nina del Rio Judith Pineiro Suzanne Sauvage Haema Sivanesan Nadine St-Louis Janis Timm-Bottos Dominique Toutant Georgiana Uhlyarik Sarah Watson Michael Wellen Manny Wheeler Sylvia Yount Mirko Zardini John Zeppetelli

CONFERENCE SPONSORS & SUPPORTERS

SUPPORTERS 1700 La Poste Antoine Ertaskiran Gallery / Galerie Antoine Ertaskiran Arsenal Contemporary Art & Division Gallery / Arsenal Art Contemporain & Galerie Division Artexte Canadian Centre for Architecture / Centre Canadien d’Architecture Château Ramezay Darling Foundry / Fonderie Darling DHC/ART Foundation for Contemporary Art / DHC/ART Fondation pour l’Art Contemporain La Ruche d’Art St-Henri McGill University Archives, Library & James Sculpture Garden Montreal Museum of Fine Arts / Musée des beaux-arts de Montréal Montreal Museum of Fine Arts’ Decorative Arts & Design Collection / Musée des beaux-arts de Montréal collection d’art décoratifs et de design Musée d’art contemporain de Montréal (MAC) McCord Museum / Musée McCord Parisian Laundry Phi Centre / Centre Phi SBC Gallery of Contemporary Art / SBC Galerie d’art contemporain UQAM Gallery / Galerie de l’UQAM VOX Contemporary Image Center / VOX Centre de l’image contemporaine

NEW YORK LONDON HONG KONG BEIJING PALO ALTO SEOUL GENEVA

MODERN AND CONTEMPORARY ART & DESIGN PREVIEW DAY

MAY 3, 2018 (INVITATION ONLY) GENERAL ADMISSION

MAY 4–8, 2018

FOR GENERAL ADMISSION TICKETS: +1 212 370 2501 www.tefaf.com

Image courtesy of Carpenters Workshop Gallery

PARK AVENUE ARMORY THE OPENING NIGHT TO BENEFIT THE SOCIETY OF MEMORIAL SLOAN KETTERING THURSDAY, MAY 3, 2018 5–8PM

FOR BENEFIT TICKETS: +1 212 639 7972 www.giving.mskcc.org/tefaf

Galerie Myrtis | 2224 North Charles St. | Baltimore, MD 21218 | 410-235-3711 | galeriemyrtis.net

COMPREHENSIVE APPRAISAL STUDIES PROGRAM Learn to appraise the ﬁne and decorative arts and household contents adhering to the highest standards. Applications now being accepted for • Summer 2018 NYC Intensive • Fall 2018 / Spring 2019 Online Program Apply Online at appraisers association.org/CASP Questions? Please contact: Jennifer Buonocore, CASP Coordinator jbuonocore@appraisersassociation.org 212-889-5404 x 10

Appraisal Institute of America is the educational foundation of the Appraisers Association of America

Art Mûr, Art45, Beaux-arts des Amériques, dc3 Art Projects, Division Gallery, ELLEPHANT, Equinox Gallery, Feheley Fine Arts, Galerie 3, Galerie Antoine Ertaskiran, Galerie Bernard, Galerie d’art Yves Laroche, Galerie D’Este, Galerie Division, Galerie Éric Devlin, Galerie Hugues Charbonneau, Galerie Jean-Claude Bergeron, Galerie Michel Guimont, Galerie Nicolas Robert, Galerie René Blouin, Galerie Robert Poulin, Galerie Simon Blais, Galerie Trois Points, Galerie Valentin, Galerie Youn, General Hardware Contemporary, Georgia Scherman Projects, La Castiglione, Lacerte art contemporain, LANTERN, Laroche/Joncas, Lisa Kehler Arts + Projects, Monte Clark Gallery, Parisian Laundry, Patrick Mikhail, Paul Petro Contemporary Art, Pierre François Ouellette art contemporain, Projet Pangée, TrépanierBaer Gallery, VIVIANEART What is AGAC? The Contemporary Art Galleries Association (AGAC) is a non-profit organization whose primary mandate is to further develop the recognition and prosperity of the contemporary art market in Canada. Beyond defending the moral and economical interests of its members through a rigorous code of ethics, the association also fosters the public’s interest in visual arts and encourages the emergence of new contemporary art collectors. The association actively contributes to the dissemination and promotion of Canadian artists via exhibitions and other major events such as the Papier art fair. Organized annually by AGAC, Papier is dedicated exclusively to promoting artworks on paper and revealing the various forms of this rich and versatile medium. As the biggest art fair in Quebec and the first one of its kind in North America, Papier is a key catalyst for the Canadian contemporary art market and constitutes a unique meeting ground for the greater public, art enthusiasts and professionals alike.

Contemporary Art Galleries Association 372-318 Sainte-Catherine W. Montreal, QC, H3B 1A2 c info@agac.ca w agac.ca

R a s h e e d A r a e e n , O p u s TA A 4, 2 017, a c r y l i c o n c a n v a s , 6 3 x 6 3 i n .

Rasheed Araeen Recent Works

April 5 – May 12, 2018

aicongaller aicon gallery N E W Y O R K

L O N D O N

3 5 G r e a t J o n e s S t r e e t • N e w Yo r k , N Y 1 0 0 12 w w w. a i c o n g a l l e r y.c o m

A HISTORY OF REFERENCES

INTO THE MATERIAL WORLD

TECHNOLOGY SOMETIMES FALLS SHORT

IDEAS OF LIVING

ORIGINS OF THE DIGITAL

WHAT YOU CAN DO WITH THE CITY

LET US ASSURE YOU

TAKE CARE

THE PLANET IS THE CLIENT

THE REST OF YOUR SENSES

JOURNEYS AND TRANSLATION

BHARTI KHER POINTS D E D É PA R T

POINTS QUI LIENT

EXHIBITION 04.20 — 0 9.0 9. 2 0 1 8 D H C / A R T F O U N DAT I O N F O R C O N T E M P O R A RY A R T D H C -A R T.O R G

Image : I’ve seen more things than I dare to remember 4 (détail), 2015. Courtesy of the artist & Perrotin.

FREE ADMISSION

KEYNOTE DIALOGUES Monday, May 7 80

Ruth Phillips Co-director of GRASAC & Canada Research Professor at Carleton University Ruth B. Phillips is Canada Research Professor and Professor of Art History at Carleton University in Ottawa. Originally trained as an Africanist, her doctoral fieldwork led to her first book, Representing Woman: Sande Masquerades of the Mende of Sierra Leone (1995). Phillipsâ&#x20AC;&#x2122; subsequent work has focused on the Indigenous arts of North America. Among her publications are Trading Identities: The Souvenir in Native North American Art from the Northeast (1998); and, with Janet Catherine Berlo, Native North American Art (2nd edition, 2015). As director of the University of British Columbia Museum of Anthropology from 1997 to 2002 she initiated a major renewal and redesign of the museumâ&#x20AC;&#x2122;s physical and virtual research infrastructure to support collaborative work with originating communities. Her book Museum Pieces: Toward the Indigenization of Canadian Museums (2011) reflects on her curatorial and museum work projects through the lens of critical museology. As a Canada Research Chair, Phillips founded GRASAC, the Great Lakes Research Alliance for the Study of Aboriginal Arts and Cultures and, together with colleagues in Indigenous communities, museums, and universities, continues to develop its shared database as a repository of multiple cultural and disciplinary knowledges. Phillips is coorganizer of the Multiple Modernisms project on global Indigenous modernisms and is co-editor, with Elizabeth Harney, of its first edited volume (forthcoming, Duke University Press). Photo credit: Ottawa Citizen

Skawennati makes art that addresses history, the future, and change from an Indigenous perspective. Best known for her machinimas—movies made in virtual environments—she also produces still images, sculpture, and textile works.

KEYNOTE DIALOGUES

Skawennati Artist

Her pioneering new media projects include the online gallery/chat-space and mixed-reality event, CyberPowWow (1997-2004); a paper doll/time-travel journal, Imagining Indians in the 25th Century (2001); and TimeTraveller™ (2008-2013), a multi-platform project featuring nine machinima episodes. These have been presented in New Zealand, Hawaii, Ireland, and across North America in major exhibitions such as “Now? Now!” at the Biennale of the Americas; and “Looking Forward (L’Avenir)” at the Montréal Biennale. Her award-winning work is included in both public and private collections.

Photo credit: Roger Lemoyne

Monday, May 7

Born in Kahnawà:ke Mohawk Territory, Skawennati holds a BFA from Concordia University in Montréal, where she is based. She is Co-Director, with Jason E. Lewis, of Aboriginal Territories in Cyberspace (AbTeC), a research network of artists, academics, and technologists investigating, creating, and critiquing Indigenous virtual environments. She also co-directs their Skins workshops in Aboriginal Storytelling and Digital Media. In 2015, AbTeC launched IIF, the Initiative for Indigenous Futures; Skawennati is its Partnership Coordinator.

KEYNOTE DIALOGUES Tuesday, May 8 82

Lisa Ackerman Executive Vice President, World Monuments Fund Lisa Ackerman is Executive Vice President and Chief Operating Officer of World Monuments Fund, an organization founded in 1965 which has assisted in the conservation and documentation of more than 600 cultural heritage sites in 100 countries. Ms. Ackerman holds an appointment as Visiting Assistant Professor at Pratt Institute. Previously Ms. Ackerman served as Executive Vice President of the Samuel H. Kress Foundation, a private foundation dedicated to European art and architecture from antiquity through the early 19th century. Ms. Ackerman holds an MS degree in Historic Preservation from Pratt Institute, an MBA from New York University, and a BA from Middlebury College. She serves on the boards of Historic House Trust of New York City, and New York Preservation Archive Project. She previously served on the boards of US/ICOMOS, St. Ann Center for Restoration and the Arts, Partners for Sacred Places, and the Neighborhood Preservation Center. In 2007 she received the Historic Districts Councilâ&#x20AC;&#x2122;s Landmarks Lion award. In 2008, Ms. Ackerman was named the first recipient of US/ ICOMOSâ&#x20AC;&#x2122;s Ann Webster Smith Award for International Heritage Achievement.

Photo credit: Silvia Forni

Tuesday, May 8

Cara Krmpotich is Director and Associate Professor, Museum Studies, at the iSchool, University of Toronto. She researches and teaches in the areas of critical collections management, museum and Indigenous relations, museums and reconciliation, cultural property, and material culture. She has led the “Memory, MeaningMaking and Collections” group, a program driven by Cree and Anishinaabe seniors living in Toronto who enjoy learning about history and culture through artifact handling and collective memory work. Cara’s work is also significantly shaped by her previous research with the Haida Repatriation Committee, seeking to understand repatriation efforts from within Indigenous historical trajectories and cultural values. Most recently, she is partnering with colleagues in Toronto and Cape Town, South Africa, to explore lifecycles of political activism in museums. Cara has worked in museums in Canada and the United Kingdom, and is active within the Ontario Museum Association, GRASAC, and Council for Museum Anthropology. She is the author of The Force of Family: Repatriation, Kinship, and Memory on Haida Gwaii (UTP, 2014), co-author of This Is Our Life: Haida Material Heritage and Changing Museum Practice (UBC Press, 2013), and “Public Humanities As Third Space: Memory, MeaningMaking and Collections and the Enunciation of ‘We’ in Research” (UTQ, 2016).

KEYNOTE DIALOGUES

Cara Krmpotich Director and Associate Professor, Museum Studies, Faculty of Information, University of Toronto

CONFERENCE SCHEDULE IN BRIEF Please refer to the Schedule in full for further details. 84

Saturday, May 5

Sunday, May 6

11:30 AM – 5:30 PM Tour Option One

10:00 AM – 11:30 AM AAMC Foundation Mentorship Program Alumni Reception

11:30 AM – 5:00 PM Tour Option Two 11:30 AM – 5:30 PM Tour Option Three 6:30 PM – 8:30 PM Welcome Reception

10:00 AM – 1:30 PM Morning Tour 1:00 PM – 5:00 PM Board of Trustees Meeting & Tour 3:00 PM – 4:30 PM Afternoon Tour 6:30 PM – 8:30 PM Awards for Excellence Reception Presented by PACART

Tuesday, May 8

7:45 AM – 8:30 AM Welcome Breakfast Reception

8:00 AM – 8:30 AM Breakfast Reception

8:45 AM – 9:00 AM First Nation Welcome

8:40 AM – 10:00 AM Keynote Dialogue

9:00 AM – 9:20 AM Welcome Address

10:00 AM – 11:10 AM Critical Race Art History: Reading, Writing, Teaching, and Curating

9:20 AM – 10:40 AM Keynote Dialogue 10:40 AM – 11:50 AM Preventing Cultural Isolationism 12:00 PM – 2:30 PM RoundTables & Lunch 2:45 PM – 4:00 PM Challenging the Colonial Foundations of the 21st Century Art Museum 4:00 PM – 5:00 PM Continuing the Conversation– Curators & Technologists United

11:30 AM – 2:00 PM Committee & Task Force Open Forums & Lunch 2:15 PM – 3:30 PM Latinx Identity, Mentorship & Representation 3:30 PM – 4:40 PM New Models of Collection Sharing and Curatorial Co-Creation

CONFERENCE SCHEDULE IN BRIEF

Monday, May 7

4:45 PM - 5:00 PM Closing Remarks 5:00 PM Conference Concludes

5:00 PM – 5:30 PM AAMC Members’ Meeting 6:00 PM – 8:00 PM AAMC Members’ Reception

Sponsored by Sotheby’s

6:30 PM – 9:00 PM Circle Donor Dinner Hosted by AAMC Foundation & Montreal Museum of Fine Arts / Musée des beaux-arts de Montréal

Please refer to the Schedule in full for further details. 85

CONFERENCE SCHEDULE IN FULL Saturday, May 5 86

SATURDAY, MAY 5 11:30 AM – 5:30 PM

Saturday Tour Option One Pre-registration required

DHC/ART FOUNDATION FOR CONTEMPORARY ART / DHC/ART FONDATION POUR L’ART CONTEMPORAIN Celebrating its 10th anniversary in 2017, DHC/ART is a non-profit organization dedicated to the presentation of contemporary art for the Montreal public. The foundation offers two to three major exhibitions per year, a series of public events, special collaborative projects, and an innovative education program—all offered free of charge as a way to make art accessible on a variety of levels while building audiences for the future. International in scope while responsive to the context of Montreal, DHC/ART’s programming has met with critical acclaim both at home and around the world. Its mission is to present impactful experiences that speak to the questions, concerns, and subjects that reflect and touch our everyday lives. Managing Director and Curator CHERYL SIM will offer a guided tour of a new solo show by Bharti Kher. This recent survey brings together a selection of her paintings, sculpture, and installations that underscore a politicized sensuousness.

Saturday, May 5

LA RUCHE D’ART ST-HENRI The first art hive in Montreal, La Ruche d’Art opened in the historic working class neighborhood of St Henri in 2011. This community art studio welcomes everyone twice a week for self-directed art making and skill-sharing, in addition to several weekly closed studios for vulnerable groups (isolated seniors, people living with cancer, artists living on the streets). The art hive also serves as a Concordia University storefront classroom and Science Shop. La Ruche d’Art St-Henri hosts the Art Hives’ “Honey Pot,” a household creative reuse center that supplies free materials to the network. In the warmer months, creation extends to La Ruche’s garden, lovingly tended by staff and community members for the benefit of all.

CONFERENCE SCHEDULE IN FULL

Québecois contemporary art field including artist-run centers, photo collectives, private galleries, disciplinary service organizations, associations, artists’ studios, and a few rental galleries and pop-ups. Despite the many external forces that have threatened the arts community in the downtown core—the new economy of the 1990s and early 2000s with its startup boom and its subsequent bust, and other economic fluctuations—the Belgo has continued to renew itself and attract new arts audiences and spaces. The tour will include a brief visit of the following spaces: Galerie Trois Points, Galerie POPOP, Arprim, La Galerie Graff, Galerie Hugues Charbonneau, and Centre des arts actuels Skol.

CONFERENCE SCHEDULE IN FULL Saturday, May 5 88

11:30 AM – 5:00 PM

Saturday Tour Option Two Pre-registration required

UQAM GALLERY / GALERIE DE L’UQAM Galerie de l’UQAM is a university gallery dedicated to contemporary art from Québec, as well as from elsewhere in Canada and from abroad. The majority of its exhibitions are curated by recognized professionals and produced by the gallery. LOUISE DÉRY, Director, will lead a tour of Galerie de l’UQAM. DARLING FOUNDRY / FONDERIE DARLING The Darling Foundry is a visual arts venue that was founded and is run by the not-for-profit art organization Quartier Éphémère. A unique institution in Montréal, it supports the creation, production, and dissemination of contemporary art and aims at bringing together the local and international art scenes through its activities. The Darling Foundry thus presents exhibitions, makes studios available to local artists, and hosts international residencies, offering fulfilling experiences in an inspiring context, with a sense of coherence that facilitates the comprehension of contemporary art. Founder and Artistic Director CAROLINE ANDRIEUX will lead members on a tour of Drinkers of Quintessences, a group exhibition featuring Canadian and international artists who explore notions of infinity and emptiness in their works, and challenge the “society of spectacle.”

Saturday, May 5

SBC GALLERY OF CONTEMPORARY ART / WOOD LAND SBC Gallery of Contemporary Art is a non-profit exhibition center and public gallery in Tiohtià:ke/Montréal, dedicated to providing a forum for artists, curators, and cultural practitioners to create projects that critically engage diverse publics with current issues in art, culture, and society. A collaborative approach to cultural production runs through SBC’s distinct program of exhibitions, events, research, public outreach activities, and publications. We embrace different ways of making— making objects, making relations, making politics, making publics—to build relationships between practitioners, publics, and institutions in order to foster a diverse and complex community. PIP DAY, Director and Curator, will lead the tour.

CONFERENCE SCHEDULE IN FULL

gallery aims to engage wider audiences with current practices in contemporary arts, and through this to connect them with contemporary social issues. The gallery’s program focuses on emerging and mid-career contemporary artists from Montreal, Canada, and abroad. ANTOINE ERTASKIRAN, Owner and Director, will lead a tour of his gallery space.

CONFERENCE SCHEDULE IN FULL Saturday, May 5 90

11:30 AM – 5:30 PM

Saturday Tour Option Three Pre-registration required

ARSENAL CONTEMPORARY ART / ARSENAL ART CONTEMPORAIN + DIVISION GALLERY Arsenal Contemporary is a privately owned cultural initiative with art spaces and collections based in Montreal (founded in 2011), Toronto (2013), and most recently, New York City (2017). Since its inception, Arsenal has dedicated its efforts to supporting, promoting, and developing contemporary arts and culture through a range of programming, including exhibitions, performances, events, and artists’ residencies. Currently, Arsenal Contemporary is the largest private contemporary art center in Canada. Montreal director DOMINIQUE TOUTANT will lead a tour of Arsenal and of Galerie Division, the commercial gallery component of the space, whose stable includes several of Canada’s most noteworthy contemporary artists. The tours will be followed by lunch in the space. MONTREAL MUSEUM OF FINE ARTS’ DECORATIVE ARTS & DESIGN COLLECTION / MUSÉE DES BEAUX-ARTS DE MONTRÉAL COLLECTION D’ARTS DÉCORATIFS ET DE DESIGN The MMFA possesses one of the most important collections of decorative arts and design, from the Middle Ages to present-day, in North America. Renowned for its scope, the collection comprises over 10,000 objects including ceramics, furniture, glass, industrial and graphic design, silverware, and textiles. Join DIANE CHARBONNEAU, Curator of Modern and Contemporary Decorative Arts, and SYLVAIN CORDIER, Curator of Early Decorative Arts, for a tour of the collections. CHÂTEAU RAMEZAY Montreal’s portal to its past, the Château Ramezay was the first building in Québec to be classified a historic monument. Chosen as one of the 1001 Historic Sites You Must See Before You Die, the Château invites you to relive more than 500 years of history, from the pre-contact Amerindian era to the 20th century. A not-to-be-missed heritage landmark in Old Montréal, the Château Ramezay holds fascinating collections, displayed in numerous exhibits, intermingled with multimedia portrayals of historical figures recounting highlights of their lives at the Château. ANDRÉ DELISLE has served as Executive Director and Curator of the Museum since 1994.

CONFERENCE SCHEDULE IN FULL

VOX CONTEMPORARY IMAGE CENTER / VOX CENTRE DE L’IMAGE CONTEMPORAINE Join MARIE J. JEAN, Executive and Artistic Director, for a tour of VOX. Founded in 1985, VOX’s mission is to support research and exhibition initiatives as well to enable artists, curators, and other researchers to experiment with art, to reflect critically, and to develop multiple forms of discourse around image-making and exhibition practices from the 1960s to the present day. The center’s principal activities are exhibitions, most often complemented by publications, documentation, film screenings, conferences and online projects. The exhibitions and other activities produced by VOX are grounded in long-term collaborations with artists which encourage discussion and debate on the subjects of art and contemporary society through a program of public events for diverse audiences. 6:30 PM – 8:30 PM

Welcome Reception

Parisian Laundry is a contemporary art gallery that operates two exhibition spaces within a 15,000 square-foot industrial building in Montréal, Québec. The gallery focuses on developing the careers of Canadian and international artists. Opened in 2007, Parisian Laundry supports its artists through publications, offsite projects, and strong institutional relations. The gallery is active internationally while providing important in-house programming for represented and invited artists. Parisian Laundry persistently builds upon the gallery’s international reach in order to contribute to the development and expansion of the dialogue for contemporary art in Canada. Parisian Laundry is a member of the New Art Dealers Association.

Saturday, May 5

PARISIAN LAUNDRY 3550 Saint-Antoine Street W, Montreal, QC H4C 1A9

CONFERENCE SCHEDULE IN FULL Sunday, May 6 92

SUNDAY, MAY 6 10:00 AM – 11:30 AM

AAMC Mentorship Program Alumni Reception Closed event, by invitation only

Hosted by the Emily Hall Tremaine Foundation & Phi Centre / Centre Phi 10:00 AM – 1:30 PM

Sunday Morning Tours Pre-registration required

1700 LA POSTE 1700 La Poste, housed in a renovated Postal Station, is a private space dedicated to the visual arts and their discourses, presenting events in the form of exhibitions and lectures. The transformation of the structure that is now home to 1700 La Poste is exemplary for its contribution to conserving and revitalizing quality spaces in the city. The building is a witness to the history of Little Burgundy, to which new elements can continue to graft themselves for the future benefit of the neighborhood. An important part of Montréal’s built heritage, 1700 La Poste is now also associated with the name of architect Luc Laporte. ISABELLE DE MÉVIUS, Executive and Artistic Director, will lead a tour of the space. ARTEXTE Founded in 1980, Artexte is a library and exhibition center for contemporary art with over 28,000 print publications and 1,000 digital publications in its collection. Digital Collection Librarian HÉLÈNE BROUSSEAU will give the group a guided visit of the library collection, sharing an overview of Artexte’s history, how the collection has developed throughout the years, information about research services, as well as a viewing of select publications from the library. Following, General and Artistic Director SARAH WATSON will give members a tour of the exhibition on view, a collaboration between the collections of Vidéographe and Artexte exploring the role of artist-run organizations in the sharing of knowledge and techniques, as well as their preservation of cultural history.

Board of Trustees Meeting & Tour Closed event, by invitation only

CANADIAN CENTRE FOR ARCHITECTURE / CENTRE CANADIEN D’ARCHITECTURE 1920 Baile Street, Montreal, QC H3H 2S6

Sunday, May 6

1:00 PM – 5:00 PM

CONFERENCE SCHEDULE IN FULL

MCGILL UNIVERSITY LIBRARY & ARCHIVES Join GWENDOLYN OWENS, Director of Curatorial Affairs, McGill University, for a tour of the University’s new visible storage gallery in the McLennan Library and for a discussion about university collections in Canada. The McGill collection contains 2,000 artworks on display across the University’s downtown and Macdonald campuses. Over the past five years, the staff has developed “curated spaces” in various academic buildings, public outdoor spaces, corridors, classrooms, and administrative spaces, where they enhance the teaching, research, and working environments of faculty, staff, students, and visitors. Instead of being housed only in a permanent gallery space, the Collection lives in a museum without walls, allowing members of the McGill community to encounter works of art both by chance and by design.

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3:00 PM – 4:30 PM

Sunday Afternoon Tour Pre-registration required

CANADIAN CENTRE FOR ARCHITECTURE / CENTRE CANADIEN D’ARCHITECTURE 1920 Baile Street, Montreal, QC H3H 2S6 The CCA is an international research center and museum founded in 1979, by Phyllis Lambert, on the conviction that architecture is a public concern. Based on its extensive collection, exhibitions, public programs, publications, and research opportunities, the CCA is advancing knowledge, promoting public understanding, and widening thought and debate on architecture, its history, theory, practice, and role in society today. 6:30 PM – 8:30 PM

AAMC & AAMC Foundation Awards for Excellence Reception Presented by PACART MUSÉE D’ART CONTEMPORAIN DE MONTRÉAL (MAC) 185 Saint-Catherine Street W, Montreal, QC H2X 3X5 Join AAMC members in toasting the 2018 Awards for Excellence recipients at the Musée d’Art contemporain de Montréal, sponsored by PACART. Following welcomes by JOHN ZEPPETELLI, Director and Chief Curator, and JENNIFER KOMAR OLIVAREZ, Head of Exhibition Planning and Strategy, Purcell-Cutts House, Minneapolis Museum of Arts, and Awards for Excellence Chair, PIERRE BECHARD, President, PACART, will present this year’s awards. 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 at this reception sponsored by PACART.

MONTREAL MUSEUM OF FINE ARTS / MUSÉE DES BEAUX-ARTS DE MONTRÉAL 1339 Sherbrooke St W, Montreal, QC H3G 2C6 | Bourgie Hall The museum is closed to the public. Galleries will be open from 12:00 PM – 3:00 PM.

7:45 AM – 8:30 AM

Welcome Breakfast Reception

Hall of Bronzes

8:45 AM – 9:00 AM

First Nation Welcome NADINE ST-LOUIS, Founder & Executive Director, Sacred Fire Productions 9:00 AM – 9:20 AM

Welcome Address NATHALIE BONDIL, Director General & Chief Curator of Montreal Museum of Fine Arts / Musée des beaux-arts de Montréal, with an introduction by CHRISTA CLARKE, Senior Curator, Arts of Global Africa, Newark Museum; President, AAMC & AAMC Foundation Board of Trustees

CONFERENCE SCHEDULE IN FULL

MONDAY, MAY 7

9:20 AM – 10:40 AM

Keynote Dialogue

Monday, May 7

RUTH PHILLIPS, Co-director of GRASAC & Canada Research Professor at Carleton University with SKAWENNATI, Artist, with an introduction by CHRISTA CLARKE, Senior Curator, Arts of Global Africa, Newark Museum; President, AAMC & AAMC Foundation Board of Trustees

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10:40 AM – 11:50 AM

Preventing Cultural Isolationism “Globalism” has created a feeling of two-way access—artists in underexposed territories travel to participate internationally, and art professionals increasingly visit “lesser-known” territories. Europe, North America, and Asia remain inarguably the financial centerpoints of the art world, and are the continents where museum and gallery opportunities are more readily available to curators and artists. This maintains that “standards” for exhibiting artwork—including exhibition duration, presentation, artwork content, attention span, and audience palatability—are defined by institutions in these continents. In addition to obvious geographical and often infrastructural divides, there remain contextual divides between these continents and regions such as Central America, Latin America, Africa, the Caribbean, and the Middle East. These divides impact modes of artwork production, thematics, moments of informality and formality in exhibiting, and how artworks translate to audiences. This begs the questions, what responsibility does a curator have to showing work out of its originated context? How can a curator break down “standards” in order to support different ideas for exhibiting, and make the work accessible to audiences less familiar with the artist’s practice? What responsibility does the artist have in translating their work to various audiences? MODERATOR/ORGANIZER: CLAIRE BREUKEL, Executive Director & Curator, Y.ES Contemporary; AAMC & AAMC Foundation Professional Development Committee PANELISTS: JOSÉ CARLOS DIAZ, Chief Curator, The Andy Warhol Museum HUMBERTO MORO, Curator, SCAD Museum of Art YESOMI UMOLU, Exhibitions Curator, Reva & David Logan Center for the Arts, University of Chicago

RoundTables & Lunch Hall of Bronzes

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

CONFERENCE SCHEDULE IN FULL

12:00 PM – 2:30 PM

There will be two lunch sessions, each including a full roster of RoundTable discussions, 12:00 PM–1:00 PM and 1:30 PM–2:30 PM. Each Conference participant registered in advance for a specified time lunch slot; 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.

Monday, May 7

RoundTable Topics: Access and Inclusion in Exhibition Practice Art in Canada: How Do You Put It? Community Engagement in Permanent Collections Loans Across Borders Museum As Resource in Academic Settings Negotiating for Salary & Benefits Planning an Exhibition to Travel Work-Life Balance: Strategies for Success Working with New Leadership

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2:45 PM â&#x20AC;&#x201C; 4:00 PM

Challenging the Colonial Foundations of the 21st Century Art Museum The art museum is, inarguably, steeped in the legacies of colonialism. In order to take the actions necessary to invite diverse participation in the museum space we must effectively address these colonial histories. We must do so by eliminating the systemic barriers inherent to colonial structures, for if these obstacles are left unchallenged, diverse participation in the museum experience cannot be lasting. We must be committed to analyzing these legacies and taking action to dismantle them, and be open to establishing something new in their place. Too often we find ourselves trying to attract more representative audiences without having the time, space, or support to think through how institutional structures and practices restrict our ability to make effective change. This panel will bring together individuals that have worked with a range of organizations, artists, and communities, in order to enact their commitment to the work of moving art institutions and curatorial practice away from the colonial legacies in which they are rooted. We will explore what kinds of strategies are being used to inspire shifts in institutional structure and philosophy from within, and to diversify, complicate, and deepen the relationships between institutions and communities. MODERATOR/ORGANIZERS: KATERINA ATANASSOVA, Senior Curator, Canadian Art, National Gallery of Canada MICHELLE JACQUES, Chief Curator, Art Gallery of Greater Victoria; AAMC & AAMC Foundation Board of Trustees, Career Support Committee Co-Chair PANELISTS: DOMINIQUE FONTAINE, Curator & Founding Director, aPOSteRIORI; AAMC & AAMC Foundation Conference Benefit Committee CHRISTINE LALONDE, Associate Curator of Indigenous Art, National Gallery of Canada WANDA NANIBUSH, Curator of Indigenous Art, Art Gallery of Ontario RYAN RICE, Independent Curator & Critic; Chair of Indigenous Visual Culture, OCAD University

Continuing the Conversation – Curators & Technologists United The AAMC, together with our partners at the Roy Rosenzweig Center for History and New Media at George Mason University, and the Museum Computer Network (MCN), are exploring ways to increase collaboration among curators and digital staff. The group will discuss the benefits and challenges as art organizations integrate digital components across departments. To address the needs for professional development we will reference The Networked Curator workshop that provided digital advancement for art curators; to look at the future we’ll discuss what MCN and AAMC can do as organizations, professionally supporting their respective members through a range of benefits. Along with the audience we hope to share and hear ideas and paths that will advance, support, and facilitate more working relationships between curators and museum technologists. MODERATOR/ORGANIZER: JUDITH PINEIRO, Executive Director, AAMC & AAMC Foundation PANELISTS: JULIE BÉLISLE, Associate Curator & Head of Digital Content, Musee d’art contemporain de Montréal SHEILA A. BRENNAN, Director of Strategic Initiatives & Acting Director of Public Projects, Roy Rosenzweig Center for History & New Media, and Research Associate Professor in the Department of History & Art History at George Mason University ERIC LONGO, Executive Director, Museum Computer Network CAROLYN ROYSTON, Chief Experience Officer, Cooper Hewitt, Smithsonian Design Museum

CONFERENCE SCHEDULE IN FULL

4:00 PM – 5:00 PM

5:00 PM – 5:30 PM

AAMC Members’ Meeting

6:00 PM – 8:00 PM

AAMC Members’ Reception Presented by Lead Conference Sponsor Sotheby’s

MCCORD MUSEUM / MUSÉE MCCORD 690 Sherbrooke St W, Montreal, QC H3A 1E9 6:30 PM – 9:00 PM

Circle Donor Dinner

Monday, May 7

CHRISTA CLARKE, Senior Curator, Arts of Global Africa, Newark Museum; President, AAMC & AAMC Foundation Board of Trustees & JUDITH PINEIRO, Executive Director, AAMC & AAMC Foundation

Hosted by MONTREAL MUSEUM OF FINE ARTS / MUSÉE DES BEAUXARTS DE MONTRÉAL Closed event, by invitation only

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TUESDAY, MAY 8 MONTREAL MUSEUM OF FINE ARTS / MUSÉE DES BEAUX-ARTS DE MONTRÉAL 1339 Sherbrooke Street W, Montreal, QC H3G 2C6 | Bourgie Hall 8:00 AM – 8:30 AM

Breakfast Reception Hall of Bronzes

8:40 AM – 10:00 AM

Keynote Dialogue LISA ACKERMAN, Executive Vice President, World Monuments Fund & CARA KRMPOTICH, Associate Professor, iSchool, University of Toronto with an introduction by Christa Clarke, Senior Curator, Arts of Global Africa, Newark Museum; President, AAMC & AAMC Foundation Board of Trustees 10:00 AM – 11:10 AM

Critical Race Art History: Reading, Writing, Teaching, and Curating Jacqueline Francis and Camara Holloway have defined Critical Race Art History as a “scholarly commitment to the investigation of race in art and visual culture.” How does such a commitment inform curatorial practices and foster connections between universities and museums? This panel will explore how academic discourses on race, migration, and colonization have shaped collaborative initiatives in and out of the classroom. Professors who have curated exhibitions, curators who have taught courses, and artists who work across academic and curatorial boundaries will discuss the benefits and challenges of their interdisciplinary practices. What are some of the issues (administrative, collection-based, methodological) related to bringing such discourses into museum settings? Which strategies for collaboration across institutions are most effective, and which might need a different approach?

MODERATOR/ORGANIZER LAYLA BERMEO, Kristin & Roger Servison Assistant Curator of Paintings, Art of the Americas, Museum of Fine Arts, Boston PANELISTS ONDINE CHAVOYA, Professor of Art History & Latina/o Studies, Williams College JACQUELINE FRANCIS, Associate Professor, Chair of the Graduate Program in Visual Arts & Critical Studies, California College of Arts in San Francisco ASMA NAEEM, Curator, Prints, Drawings & Media Arts, Smithsonian National Portrait Gallery 11:30 AM – 2:00 PM

Committee & Task Force Open Forums & Lunch

Hall of Bronzes

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 among peers.

COMMITTEES & TASK FORCES Advocacy Task Force Career Support Committee Conference Benefit Committee Finance, Fundraising, & Audit Committee Governance & Nominating Committee Inclusion & Access Task Force Membership Committee Professional Development Committee

Tuesday, May 8

There will be two lunch sessions, with the earlier session including a full roster of Committee & Task Force Open Forums, from 11:30 AM–12:30 PM. The second session, 1:00 PM–2:00 PM, will not have Open Forums. Each Conference participant registered in advance for a specified time lunch slot; you will only be admitted to the lunch hour you pre-selected. If you wish to have your voice heard by a Committee or Task Force, or currently serve on one, please register for the first time slot.

CONFERENCE SCHEDULE IN FULL

As part of examining the intersection of museum and academic work, this panel will address a recent initiative to create a series of bibliographies and reading groups that study race and ethnicity in art and visual culture. Developed by emerging scholars and the Association for Critical Race Art History, these reading groups have created new spaces for interdisciplinary learning by engaging curators, professors, and community members in four cities across the United States.

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2:15 PM – 3:30 PM

Latinx Identity, Mentorship & Representation This panel will address issues of Latinx identity and representation through a conversation with individuals who have participated in or constructed mentorship opportunities through both official and unofficial means. Most new hires in art organizations from underrepresented backgrounds come with a genuine passion for their field but without the basic skills necessary to secure a position beyond entry-level employment. Thus, boards, leadership, and curatorial roles remain mostly white and male. Searching for a community, networking, and direct training, emerging professionals develop inter- and intragenerational mentorship through often unofficial alliances with other colleagues of color. Together, finding creative and sometimes subversive ways to implement horizontal models of collaboration—inherited directly from feminist and social justice movements—within and outside of the museum and academia, often without recognition or compensation. These horizontal models extend beyond mentorship and are reflected in curatorial philosophies and programmatic decisions that seek to engage and demystify the concept of the museum for diverse audiences and potential future colleagues. Through sharing personal experiences we seek to spark awareness on how they can push for improved mentorship and representation within their own organization, and why it is crucial for the survival of museums and our arts community. MODERATORS/ORGANIZERS: GABRIELA MARTÍNEZ, Visual Artist & Curator of Education, Museum of Latin American Art; AAMC & AAMC Foundation Professional Development Committee SELENE PRECIADO, Independent Curator & Program Assistant, Getty Foundation PANELISTS: LISSA CORONA, Artist/Independent Curator MIA LOPEZ, Assistant Curator, DePaul Art Museum E. CARMEN RAMOS, Deputy Chief Curator & Curator of Latino Art, Smithsonian American Art Museum; AAMC & AAMC Foundation Board of Trustees, Advocacy Task Force

New Models of Collection Sharing and Curatorial Co-Creation A variety of art museum collection sharing initiatives have emerged over the last several years, raising the possibility of an increasingly networked, expansive approach to our shared commitment to access, interpretation, research, and stewardship of the art in our care. For this discussion, the specific purposes and challenges of three different collection sharing programs will be considered: the Yale University Art Gallery Collection Sharing Initiative, which focuses on academic museum collaboration; Art Bridges, which focuses on American art and loans to regional museums; and the Kress Loan Network, developed under the institutional auspices of the Georgia Museum of Art, which focuses on European painting. Panelists will represent the points of view of lenders and borrowers of collection loans, and will explore the ways sharing initiatives not only broaden access to original works of art, but also foster co-creation of exhibition and teaching projects and ongoing cross-institutional collaboration. Highlighting opportunities and responsibilities that come with collection sharing, the panel will address both curatorial and broader institutional perspectives on the endeavor. We hope to share with the audience tangible takeaways on the various collection sharing programsâ&#x20AC;&#x2122; parameters and networking opportunities to initiate new projects.

4:45 PM - 5:00 PM

Closing Remarks 5:00 PM

Conference Concludes

Tuesday, May 8

MODERATOR/ORGANIZER PAMELA FRANKS, Senior Deputy Director & Seymour H. Knox Jr. Curator of Modern & Contemporary Art, Yale University Art Gallery PANELISTS MARGARET C. CONRADS, Director of Curatorial Affairs, Crystal Bridges Museum of American Art; AAMC & AAMC Foundation Inclusion & Access Task Force JAMAAL SHEATS, Director & Curator, Fisk University Galleries AMBER STRACHAN, Research Associate for the Kress Collection & Assistant Registrar for the Romanov Collection, Georgia Museum of Art

CONFERENCE SCHEDULE IN FULL

3:30 PM â&#x20AC;&#x201C; 4:40 PM

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KATERINA ATANASSOVA Senior Curator, Canadian Art, National Gallery of Canada Katerina Atanassova is the Senior Curator of Canadian Art at the National Gallery of Canada, where she has recently overseen the reinstallation of the Canadian art collection in the new Canadian and Indigenous Galleries. Previously she also reinstalled the permanent collection at the McMichael Canadian Art Collection. She has curated award-winning exhibitions of historical and contemporary Canadian art in Canada and abroad, such as William Berczy – Man of Enlightenment (2004), F.H. Varley: Portraits Into the Light (2006), Painting Canada: Tom Thomson and the Group of Seven (Dulwich Picture Gallery, London, and other European museums, 2011), and James Wilson Morrice: The A.K. Prakash Collection in Trust to the Nation (2017). JULIE BÉLISLE Head of Digital Content, Musee d’art contemporain de Montréal Julie Bélisle holds a doctorate in art history, and her research focuses on the use of material culture in contemporary art. She is currently Head of Digital Content at the Curatorial

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Department of the Musée d’art contemporain de Montréal and previously worked as Head of Research and Outreach at the Galerie de l’Université du Québec à Montréal. She has collaborated on various digital projects (Virtual Museum of Canada, Musée national des beaux-arts du Québec) and worked as an independent commissioner. LAYLA BERMEO Kristin & Roger Servison Assistant Curator of Paintings, Art of the Americas, Museum of Fine Arts, Boston Before joining the MFA, Layla was the co-curator of Harvard University’s Black History/Art History Lecture & Performance Series, and a guest curator at the African American Museum in Philadelphia. She held curatorial fellowships at the Philadelphia Museum of Art and the Williams College Museum of Art, and recently completed the Center for Curatorial Leadership/Mellon Foundation Seminar in Curatorial Practice. Layla earned a BA from Northwestern University, an MA from Williams College, and is currently a PhD candidate in the History of Art and Architecture department at Harvard University. She is also the organizer of the Boston-based ACRAH Reading Group.

SHEILA A. BRENNAN Director of Strategic Initiatives & Acting Director of Public Projects, Roy Rosenzweig Center for History & New Media and Research Associate Professor in the Department of History & Art History at George Mason University Sheila A. Brennan is the Director of Strategic Initiatives and Acting Director of Public Projects at the Roy Rosenzweig Center for History and New Media and Research Associate Professor in the Department of History and Art History at George Mason University. At RRCHNM, she directs many digital public

humanities projects, including the open-source software Omeka. She also directs a series of intensive digital humanities and digital art history workshops, including The Networked Curator. Her own research explores how museums use digital technologies, and she is publishing a digital monograph, Stamping American Memory, with the University of Michigan Press. CLAIRE BREUKEL Executive Director & Curator, Y.ES Contemporary; AAMC & AAMC Foundation Professional Development Committee South African, Claire Breukel is Executive Director of Y.ES Contemporary El Salvador and Curator for Bal Harbour City’s public art program. Introduced to Miami through the Rubell Family Collection, she worked as Executive Director of Locust Projects before becoming nomadic as curator for sports-lifestyle brand PUMA, implementing arts partnerships in Africa and the Caribbean. Between 2011 and 2013 she co-produced (RED) Design Auction at Sotheby’s New York, curated by Jony Ive and Marc Newson. She has written for Harvard’s Revista, Whitewall, Arte Aldia, Eikon, Women’s Review, and more, and co-edited the publication Y.ES Collect Contemporary El Salvador. She is an immigrant.

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NATHALIE BONDIL Director General & Chief Curator, Musée des beaux-arts de Montréal Art historian Nathalie Bondil has been the Director General of the Montreal Museum of Fine Arts and its Chief Curator since 2007. Thanks to her leadership, the museum has built an enviable reputation for its design, production, and exportation of dynamic exhibitions on the international scene (30 cities over the last 10 years, and 12 cities with over two million visitors for The Fashion World of Jean-Paul Gaultier: From the Sidewalk to the Catwalk). Innovative, she has programmed original multidisciplinary exhibitions, introducing, for example, fashion, music, and world cultures to the museum. In five years, the museum has doubled attendance to over a million visitors in 2014 and 2015; a Canadian record.

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ONDINE CHAVOYA Professor of Art History & Latina/o Studies, Williams College C. Ondine Chavoya is Professor of Art History and Latina/o Studies at Williams College. He is the author of numerous texts on Chicano avant-garde art, video, experimental cinema, and social space in southern California. His curatorial projects have addressed issues of collaboration, experimentation, social justice, and archival practices in contemporary art. Recent exhibitions include Asco: Elite of the Obscure, A Retrospective, 1972-1987, the first museum retrospective to present the wide-ranging work of the performance and conceptual art group Asco (with Rita Gonzalez), Robert Rauschenberg: Autobiography (with Lisa Dorin), and Axis Mundo: Queer Networks in Chicano L.A. (with David Evans Frantz). CHRISTA CLARKE Senior Curator, Arts of Global Africa, Newark Museum; President, AAMC & AAMC Foundation Board of Trustees Since joining Newark in 2002, Clarke has organized numerous exhibitions, ranging from African men’s fashion to Nigerian modernism, and expanded the collection to include modern and contemporary arts of global Africa. Her publications include Representing Africa in American Art Museums (2010), African Art in the Barnes Foundation (2015) and Arts of Global Africa: The Newark Museum Collection (2017). Clarke has held fellowships at Harvard,

the Clark, the Metropolitan and the Smithsonian, and teaching appointments at NYU Abu Dhabi, University of Pennsylvania, and George Washington University. A 2012 Fellow at the Center for Curatorial Leadership, she has also been an involved member of the AAMC since its founding. MARGARET C. CONRADS Director of Curatorial Affairs, Crystal Bridges Museum of American Art; AAMC & AAMC Foundation Inclusion & Access Task Force Margaret (Margi) Conrads has served since 2015 as Director of Curatorial Affairs at Crystal Bridges Museum of American Art in Bentonville, Arkansas. She provides strategic vision for the design and development of the museum’s collection and exhibitions and leads strategic art initiatives, including Art Bridges and partnerships including the University of Arkansas. Previously, Conrads was Deputy Director of Art and Research at the Amon Carter Museum of American Art in Fort Worth, Texas, after a long tenure at The Nelson-Atkins Museum of Art in Kansas City, Missouri, as the Samuel Sosland Senior Curator of American Art. LISSA CORONA Artist/Independent Curator Lissa Corona is a multi-disciplinary artist, curator, educator, and administrator. Corona received her MFA from the University of Pennsylvania, and her Bachelor’s in studio art from the University of California, San Diego. Primarily

consisting of performative video and photography, Corona’s art practice revolves around one question: “What does it mean to be human,” utilizing pop culture to investigate specific relationships and emotions. Additionally, Corona is the Executive Director of NAH NAH (curatorial collective based in San Diego), Co-Founder of Not Nothing Projects (arts education 501(c)3), and founding member of LOUD—an artist collective by and for women of color. JOSÉ CARLOS DIAZ Chief Curator, The Andy Warhol Museum A native of Miami, José Carlos Diaz is the Chief Curator at The Andy Warhol Museum. Diaz focuses on the life and legacy of Andy Warhol and has organized the first museum solo exhibition of Iranian artist Farhad Moshiri currently on view at The Warhol. Prior to this he was the Curator of Exhibitions at the Bass Museum of Art in Miami Beach, where he curated new artist commissions by Athi-Patra Ruga and Sylvie Fleury and the travelling exhibition GOLD. Prior to

DOMINIQUE FONTAINE Curator & Founding Director, aPOSteRIORI; AAMC & AAMC Foundation Conference Benefit Committee Dominique Fontaine is a curator and founding director of aPOSteRIORI, a non-profit curatorial platform— researching, documenting, developing, producing, and facilitating innovation in diverse contemporary art practices. Fontaine graduated in visual arts and arts administration from the University of Ottawa, and completed De Appel Curatorial Programme (Amsterdam, the Netherlands). Since 2013, she has been contributing to Of Africa, a multi-disciplinary program, in collaboration with the Royal Ontario Museum (ROM). Her recent curatorial projects include “here we are here: black canadian contemporary”, 2018; “dineo seshee bopape: and- in. The light of this._______”, 2017; “repérages ou à la découverte de notre monde ou sans titre”, 2016.

SPEAKER, PANELIST, & PRESENTER BIOS

joining the Bass he worked at Tate Liverpool and the Liverpool Biennal. Diaz received a Master of Arts in Cultural History from the University of Liverpool, and a Bachelor of Arts in Art History from San Francisco State University. In 2003 Diaz tenured as a curatorial intern at The Rubell Family Collection and launched a nomadic curatorial project called Worm-Hole Laboratory.

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JACQUELINE FRANCIS Associate Professor & Chair of the Graduate Program in Visuals & Critical Studies, California College of the Arts in San Francisco Jacqueline Francis, PhD, is an art historian specializing in critical questions about minority identities and identifications represented in historical and contemporary visual culture. She is the author of Making Race: Modernism and “Racial Art” in America (2012) and a co-editor of Romare Bearden: American Modernist (2011). In 2000, Francis and Camara Dia Holloway cofounded the Association for Critical Race Art History, which is an affiliated society of the College Art Association. Francis is Associate Professor and Chair of the Graduate Program in Visual and Critical Studies at the California College of the Arts in San Francisco.

PAMELA FRANKS Senior Deputy Director & Seymour H. Knox Jr. Curator of Modern & Contemporary Art, Yale University Art Gallery Pamela Franks is Senior Deputy Director and Seymour H. Knox, Jr. Curator of Modern and Contemporary Art at the Yale University Art Gallery. In this role she is responsible for an exceptional collection and dynamic exhibition program of 20th and 21st century art. Her professional passions include working with artists, teaching with collections, and guiding students through the curatorial process. Franks has led the Gallery’s Collection Sharing Initiative since its inception in 2008, forging a wide range of partnerships between Yale and other college and university museums. MICHELLE JACQUES Chief Curator, Art Gallery of Greater Victoria; AAMC & AAMC Foundation Board of Trustees, Career Support Committee Co-Chair Michelle Jacques is the Chief Curator at the Art Gallery of Greater Victoria, where she guides a curatorial and education program that links contemporary practices, ideas, and issues to the Gallery’s historical collections and legacies. A generalist by training and experience, she is particularly interested in developing projects that evoke cross-cultural conversations. Prior to moving west, she held various roles in the Contemporary and Canadian departments of the Art Gallery of Ontario, Toronto; was the Director of Programming

CHRISTINE LALONDE Associate Curator of Indigenous Art, National Gallery of Canada Christine Lalonde is a curator and art historian who has worked with Inuit artists since the mid1990s and is currently the Associate Curator of Indigenous art at the National Gallery of Canada in Ottawa. Her many exhibition projects have advanced the understanding of Indigenous art and represent a balance between theory and practice, between commemorating the artistic accomplishments of artists and raising awareness of critical issues. Her notable projects include Sakahan: International Indigenous Art (2013) and Canadian and Indigenous Art: Time Immemorial to 1967. For more than 20 years she has been published extensively in exhibition catalogues, journals, and critical anthologies. ERIC LONGO Executive Director, Museum Computer Network Eric Longo has served as Executive Director of Museum Computer Network (MCN) since 2011. MCN supports technology professionals advancing digital transformation in museums. Trained as a lawyer, Eric started his career in international law.

From 2001 to 2009, he worked with Antenna Audio (now Antenna International), first as director of client services, and later as head of global business development. As a consultant, heâ&#x20AC;&#x2122;s advised clients on digital and mobile strategy, brand identity, and integrated marketing. Eric also teaches mobile marketing at NYU and Fordham University, and museums and mobile at Johns Hopkins University. He is fluent in English and French. MIA LOPEZ Assistant Curator, DePaul Art Museum Mia Lopez is Assistant Curator at DePaul Art Museum in Chicago. From 2013-2015 she was Curatorial Fellow for Visual Arts at the Walker Art Center. Mia has interned and worked at the Museum of Contemporary Art Chicago, the Museo Alameda, the Hirshhorn, and the Contemporary Art Museum Houston. She completed dual Masters at the School of the Art Institute of Chicago in Modern and Contemporary Art History, Theory, and Criticism and Arts Administration and Policy, and has a Bachelor of Arts from Rice University. Mia is an alumna of the Smithsonian Latino Museum Studies Fellowship and the National Association of Latino Arts and Cultures Leadership Institute.

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at the Centre for Art Tapes in Halifax; and taught courses in writing, art history, and curatorial studies at NSCAD University, University of Toronto Mississauga, and OCAD University.

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GABRIELA MARTÍNEZ Visual Artist & Curator of Education, Museum of Latin American Art; AAMC & AAMC Foundation Professional Development Committee A native of Los Angeles, Gabriela Martínez is an artist, educator, and curator. She holds degrees in Painting and Printmaking and is a 2009 Fellow of the Smithsonian Latino Center’s Latino Museum Studies Program. Martínez currently serves as Curator of Education at the Museum of Latin American Art in Long Beach, California, where she oversees the development of the museum’s interpretive programs and curates exhibitions centered on participation and equal representation. She has curated and organized exhibitions and developed supporting programs with local and international artists and emerging curators of diverse ethnic backgrounds, ages, and abilities.

Assistant Curator and Collection Coordinator at Museo Jumex, Mexico City. He has curated exhibition projects such as Residual Historical Haunting at Johannes Vogt Gallery, New York, Overburden at the Hessel Museum of Art, New York, Measuring the Distance by Gonzalo Lebrija at La Casa Encendida, Madrid, and Witness of The Century at Museo de Arte de Zapopan (MAZ), Guadalajara. He was recipient of the Estancias Tabacalera research fellowship for Latin-American curators 2016, Madrid, Spain, and was part of the 7th Gwangju Biennale International Curator Course, in Gwangju, South Korea. He has written about the work of Jose Dávila, Guillermo Mora, Ana Tiscornia, and Tom Burr, and published the book Possibility of Disaster by Gonzalo Lebrija, among others.

HUMBERTO MORO Curator, SCAD Museum of Art Humberto Moro, (born in Guadalajara, Mexico, 1982) is Curator at the SCAD Museum of Art in Savannah, GA, where he has organized solo exhibitions by Glen Fogel, Mario Navarro, Oliver Laric, Liliana Porter, Cynthia Gutiérrez, Pia Camil, Mariana Castillo Deball, and Tom Burr. Moro is curator of New Proposals and SAMPLE, sections at Zona Maco, Mexico City. He was most recently Director and Curator at Large for Colección Diéresis, Guadalajara. He was previously

ASMA NAEEM Curator, Prints, Drawings & Media Arts, Smithsonian National Portrait Gallery Asma Naeem is a curator of Prints, Drawings, and Media Arts at the Smithsonian National Portrait Gallery. While there, she has curated, among other shows, Bill Viola: The Moving Portrait, and Black Out: Silhouettes Then and Now, which opened on May 10, 2017. Specializing in American and Contemporary Islamic art, Naeem has published her work in Artforum, American Quarterly, and American Art. Her manuscript, Out of Ear Shot: Sound and Technology in American

WANDA NANIBUSH Curator of Indigenous Art, Art Gallery of Ontario Wanda Nanibush is Anishinaabekwe from Beausoleil First Nation. Currently she is Curator of Indigenous Art at the AGO. She has a Masterâ&#x20AC;&#x2122;s in visual studies from the University of Toronto where she has taught graduate courses. She also teaches at OCADU. Her curatorial credits include Rita Letendre: Fire & Light (AGO, 2017), Toronto: Tributes + Tributaries, 1971-1989 (AGO, 2016), Sovereign Acts (touring currently), and The Fifth World (Mendel Art Gallery, 2015). Select publications include Time, Temporality and Violence in International Relations: (De)fatalizing the Present, Forging Radical Alternatives, and This Is an Honour Song: Twenty Years Since the Blockades; articles in Art in America, Canadian Art, and C Magazine, as well as over 15 catalogue essays on artists. She is currently completing two films and her first book, titled Violence No More: The Rise of Indigenous Women.

JUDITH PINEIRO Executive Director, AAMC & AAMC Foundation Judith Pineiro joined the Association of Art Museum Curators (AAMC) & AAMC Foundation as Executive Director in January 2014. Directly prior, she was an independent external affairs consultant for clients such as Art in General, Louise Blouin Media, and The Laundromat Project. Additional senior level roles include Director, Affordable Art Fair U.S., expanding the brand throughout the U.S.; Associate Development Director, Institutional Advancement, Museum of Arts and Design (MAD), growing funding and mission recognition during the transition to a new museum at 2 Columbus Circle; and Account Manager, Museum Services, Christieâ&#x20AC;&#x2122;s, collaborating on securing market share for multiple years. She began her career in galleries in New York and Los Angeles. She is a board member at ArtTable and New York Artists Equity Association. Judith has had speaking engagements at the Association of African American Museums and Museum Computer Network, and served as a juror for the National Arts Education Association Member Exhibition, and for the visual arts re-grant program at the Brooklyn Arts Council. Judith received a Master of Arts in Art History from Rutgers University.

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Art, 1847-1897, is forthcoming from University of California, Berkeley, Press. Her current project is titled Leaving Yourself Behind: The Partition of India and Its Aftermath in American Art.

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SELENE PRECIADO Independent Curator & Program Assistant, Getty Foundation Selene Preciado is a Los Angelesbased independent curator and works as a program assistant at the Getty Foundation since 2015. Previously, she worked as curatorial research assistant at The Museum of Contemporary Art, Los Angeles (2013–2015), and assistant curator at the Museum of Latin American Art (2009–2013). Preciado obtained a Bachelor of Arts in Visual Arts from the University of California San Diego, and holds a Master of Arts in Art and Curatorial Practices in the Public Sphere from the University of Southern California. Her master’s thesis examined the first years of production of feminist Mexican artist Mónica Mayer. E. CARMEN RAMOS Deputy Chief Curator & Curator of Latino Art, Smithsonian American Art Museum; AAMC & AAMC Foundation Board of Trustees, Advocacy Task Force E. Carmen Ramos is Deputy Chief Curator and Curator of Latino Art at the Smithsonian American Art Museum. Her exhibition Our America: The Latino Presence in American Art (2013) toured to eight venues across the U.S. and its catalogue received a 2014

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co-first prize Award for Excellence by the AAMC. Recent exhibitions include Down These Mean Streets: Community and Place in Urban Photography (2017) and Tamayo: The New York Years (2017). Ramos, who serves on the board of the AAMC, is also completing a monograph on Freddy Rodríguez as part of the A Ver: Revisioning Art History book series. RYAN RICE Independent Curator & Critic; Chair of Indigenous Visual Culture, OCAD University Ryan Rice, Kanien’kehá:ka, is an independent curator, critic, and the Chair of Indigenous Visual Culture at the OCAD University. His career spans 20 years serving in lead curatorial positions at the IAIA Museum of Contemporary Native Arts and the Indigenous Art Centre, curatorial fellowships with the Art Gallery of Greater Victoria and Walter Phillips Gallery, and Curator-In-Residence at Carleton University Art Gallery. Rice was the co-founder of the Aboriginal Curatorial Collective and Nation to Nation. In Fall 2017, he opened the inaugural exhibition “raise a flag: work from the Indigenous Art Collection 2000-2015” at the Onsite Gallery in Toronto.

JAMAAL SHEATS Director & Curator, Fisk University Galleries Jamaal B. Sheats, Master of Fine Arts, Director and Curator of Fisk University Galleries and Assistant Professor of Art, has maintained a strong exhibition record for over 15 years. He was commissioned to

create Eight Octaves for Music City Center (2013). He serves on the Frist Center Education Council, Nashville Conference on AfricanAmerican History and Culture, Steering Committee for Metro Parks, and Leadership Nashville c/o 2017/2018. He is a board member of the Arts & Business Council, Association of Academic Museum & Galleries, and HBCU Alliance of Museums and Galleries. Sheats received his Bachelor of Arts from Fisk University and his Master of Fine Arts from Tufts University (SMFA)Boston. AMBER STRACHAN Research Associate for the Kress Collection & Assistant Registrar for the Romanov Collection, Georgia Museum of Art Amber Strachan earned her Masterâ&#x20AC;&#x2122;s Degree in Museum Studies at Syracuse University. She is the Research Associate for the Kress Collection and Assistant Registrar for the Romanov Collection at the Georgia Museum of Art. Over the last year, she has been creating a census of the entire Kress Collection. Working with the lead Kress conservator, Dianne Modestini, she has assessed conservation needs of objects across the United States. As an assistant registrar, she works directly with the curator of Russian art, Asen Kirin, cataloguing, processing, and exhibiting one of the largest collections of Russian Imperial art outside of Saint Petersburg.

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CAROLYN ROYSTON Chief Experience Officer, Cooper Hewitt, Smithsonian Design Museum Carolyn Royston brings 20 years of senior management and digital leadership experience in the U.S. and the U.K. to Cooper Hewitt. Most recently, she served as the inaugural director of digital and information services at the Isabella Stewart Gardner Museum in Boston, where she oversaw the launch of a new award-winning website and led new initiatives to improve the visitor experience. Royston was previously head of digital at Imperial War Museums in London from 2009-2014, and project director of the National Museums Online Learning Project. She recently completed a one year term as president of Museum Computer Network (MCN) and served on the board for five years. A graduate of Mount Holyoke College, she holds a Masterâ&#x20AC;&#x2122;s Degree in social and political thought from the University of Sussex. Royston speaks regularly on digital strategy in the cultural sector and leads professional development workshops focusing on digital strategy, digital leadership, and digital skills development.

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NADINE ST-LOUIS Founder & Executive Director, Sacred Fire Productions Nadine St-Louis is a Cultural Entrepreneur whose roots stem from Miâ&#x20AC;&#x2122;kmaq, Acadian, and Scottish ancestors, holding a Bachelor of Fine Arts, graduate studies in Art History with over 25 years of experience in management, community development and governance, and works as an important leader in the development of an Indigenous economy through arts and culture in Quebec, Canada, and abroad through cultural productions and innovative business models. She is the founder and Executive Director of Sacred Fire Productions, a non-for-profit Indigenous Arts Organization and has launched the Ashukan Cultural Space in 2015, a cultural and economic incubator in the heart of Old Montreal.

YESOMI UMOLU Exhibitions Curator, Reva and David Logan Center for the Arts, University of Chicago Yesomi Umolu is Exhibitions Curator at the Reva and David Logan Center for the Arts at the University of Chicago, where she oversees a program of international contemporary art in the Logan Center Gallery and throughout the multidisciplinary art center. Umolu also holds the position of Lecturer in the Humanities division. Umolu previously served on the curatorial teams at the Eli and Edythe Broad Art Museum at MSU, the Walker Art Center, Minneapolis, and the Serpentine Gallery, London. In 2016, she received an Andy Warhol Foundation Curatorial Fellowship for her multi-year research project, public program, and online platform exploring the history of PanAfricanism and its articulation in the art and culture of the contemporary African diaspora.

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