2018 Curatorial Intensive in New Orleans: Public Symposium

2018 Curatorial Intensive in New Orleans: Public Symposium
Thursday, February 1, 2018

Contemporary Arts Center New Orleans (CAC)
900 Camp Street
New Orleans, LA 70130
FREE and open to the public

The Curatorial Intensive participants of the 2018 New Orleans program will each present their project proposals that they have been developing over the course of the program.

Symposium Schedule
Welcome and Session 1: 10:00am–11:15am
Break: 11:15am–11:30am
Session 2: 11:30am–12:30pm

The Curatorial Intensive is a weeklong professional development program which brings together emerging curators for the opportunity to exchange ideas, develop their curatorial practice, and learn from their colleagues. Please see the program page for more details.

Participants include: Jennifer Carty (Chicago, IL), PJ Gubatina Policarpio (San Francisco, CA), Esteban King Alvarez (Mexico City, Mexico), Jennie Lamensdorf (New York, NY), Mia Lopez (Chicago, IL), Kimia Maleki (Chicago, IL), Lucy Mensah (Detroit, MI), and Fari Nzinga (New Orleans, LA).

This event is free and open to the public.

February 1, 2018

Contemporary Arts Center New Orleans (CAC)
900 Camp Street
New Orleans, LA 70130


Jennifer Carty

Jennifer Carty is the Assistant Curator of Modern & Contemporary Art at the Smart Museum of Art at the University of Chicago. Carty began her curatorial career at the Eli and Edythe Broad Art Museum at Michigan State University on the curatorial team for exhibitions and site-specific commissions such as Imran Qureshi: The God of Small Things, The Genres: Landscape featuring Trevor Paglen and The Land Grant: Flatbread Society among others. Most recently, she served as the Assistant Curator, specializing in contemporary art, at the Cantor Arts Center at Stanford University, where she began an emerging artist series with the exhibition New to the Cantor: Dashiell Manley and curated the first Diekman Contemporary Commissions Program with the exhibitions Artist at Work: Hope Gangloff and Hope Gangloff Curates Portraiture. She also served as the coordinating curator for the traveling mid-career survey Nina Katchadourian: Curiouser. Carty was an undergraduate at the University of Michigan where she received her BA with a dual concentration in History of Art and French and Francophone Studies. She received her MA in Contemporary Art from the Sotheby’s Institute of Art in London.

PJ Gubatina Policarpio

PJ Gubatina Policarpio is a socially-engaged educator, curator, programmer, writer, and community organizer. His multidisciplinary practice utilizes research, archive, collaboration, programming, pedagogy and public engagement as both art and tool. PJ creates multifaceted intersections for meaningful connections between communities and art, especially addressing a diverse, multilingual, and multicultural audience. He has presented in conferences including NYCMER, AAM, NAEA, and Open Engagement and is a part of the cross-museum think tank Museum as Site for Social Action (MASS Action). PJ has delivered lectures and participated in panels at The New School, University of Illinois Chicago, School of the Art Institute of Chicago, Haystack Mountain School of Crafts, The Field Museum, Textile Arts Center, MoCADA, Museum of Chinese in America, Queens Museum, and Brooklyn Museum. He has organized exhibitions and programming at Dixon Place, Knockdown Center, NURTUREart, Queens Museum, and the Smithsonian Asian Pacific American Center. His work is is in the collection of the Thomas J. Watson Library at The Metropolitan Museum of Art. PJ is cofounder of PAL / Pilipinx American Library, a mobile, non-lending library that centers Pilipinx voice. Born in the Philippines and raised in SF Bay Area, PJ is currently based in San Francisco, CA and Queens, NY.

Esteban King Alvarez

Esteban King Álvarez (México City, 1986) is researcher, art historian and curator. He holds a BA in History and a MA in Art History from the National Autonomous University of Mexico (UNAM). His work focuses on modern and contemporary art and its relationships with music and literature. He has developed projects that interwove sound, archive and writing from the perspective of art history and contemporary art. He has written several articles in books and art catalogues, among others: “Strindentism and Urban Imaginaries” for the catalogue Avant-garde in Mexico, 1915-1940 (National Museum of Art, 2013); “New narrative strategies: the works of Salvador Elizondo” for the catalogue Defying stability: artistic processes in Mexico, 1952-1967 (MUAC, 2014) and “Sonorama. Art and technology from hi-fi to MP3” for the catalogue Sonorama (Museo Universitario del Chopo, 2014). He is curator of the collective exhibitions Transcripciones (Museo Universitario del Chopo, 2014), Fonema (in collaboration with Enrique Arriaga, Ex Teresa Arte Actual, 2015), Una red de líneas que se intersecan (ESPAC, 2016) and La nueva onda del silencio (El cuarto de máquinas, 2017), among others. From 2012 to 2015 he was curator and chief researcher at the Museo Universitario del Chopo. Since 2015 he works as curator at ESPAC, Espacio de Arte Contemporáneo, in Mexico City.

Jennie Lamensdorf

Jennie Lamensdorf is Director and Curator of Time Equities Inc. Art-in-Buildings in New York. Her most recent exhibition Art/Work: An Exploration of Labor, included works by Andrea Arrubla, Aram Han Sifuentes, Ben Thorp Brown, Frances Goodman, Jean Shin, Joiri Minaya, Michael Mandiberg, Mierle Laderman Ukeles, Paul Anthony Smith, and Rodriogo Valenzuela, among others.  In 2016, Lamensdorf co-founded Forward Union, a platform connecting artists and art workers with critical social justice organizations. In 2018, Lamensdorf will co-curate an exhibition at the University of Buffalo Art Galleries about radioactive waste and its human and ecological implications. She is also the curator of the Francis J. Greenburger Collection, a private collection based in New York. Lamensdorf is a Board Member of Art Omi in Ghent, NY and a member of the NurtureArt Advisory Board in Brooklyn, NY. She received a BA from the University of Pennsylvania and a MA in Art History from the University of Texas at Austin.

Mia Lopez

Mia Lopez is a curator, writer, and educator with over twelve years of experience in museums and non-profit art spaces. In 2016 she joined the DePaul Art Museum as Assistant Curator, where she organizes exhibitions and programs with an emphasis on contemporary art with a focus on diversity and social concerns. As the 2013—2015 Curatorial Fellow for Visual Arts at the Walker Art Center she collaborated on exhibitions, programs, and catalogs including Art at the Center: 75 Years of Walker Collections (October 2014) and International Pop (April 2015). In 2013 Lopez 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; her graduate thesis examined anthropology, museology, and performance in work by Guillermo Gómez-Peña and Coco Fusco. She also has a BA in Art History from Rice University. From 2007—2010 Mia Lopez was the Programming Coordinator at the Museo Alameda in San Antonio, Texas where she designed and managed public programs pertaining to Latino art, history, and culture. She has interned and worked at the Museum of Contemporary Art in Chicago, the Hirshhorn Museum and Sculpture Garden, and the Contemporary Art Museum Houston. She is a 2012 alumnus of the Smithsonian Latino Museum Studies Program and a 2016 alumnus of the National Association of Latino Arts and Cultures Leadership Institute. Her writing has appeared in publications by the Contemporary Art Museum Houston, the Walker Art Center, and Prospect New Orleans.

Kimia Maleki

Kimia Maleki (M.A., School of the Art Institute of Chicago; B.A., University of the Arts, Tehran) is interested in historiography, archiving, and curatorial practice, especially as pertains to Iran. During her undergraduate studies, she created the first comprehensive art students magazine (Gahname Honar), and, more recently, she completed an M.A. thesis entitled “State of Art Archiving in Iran: Now & Then.” She curated an exhibition at the Ryerson and Burnham Libraries of the Art Institute of Chicago titled “Islamic Art at the Art Institute: A Century of Exhibitions and Acquisitions,” 2016, and “Sedentary Fragmentation,” 2017 in Heaven Gallery. She has also served as the head of archive and special collections at Stony Island Arts Bank (2016), Intercultural Engagement coordinator at the School of the Art Institute of Chicago (2016-17), and project assistant at the Persepolis Fortification Archive, Oriental Institute of the University of Chicago (2017).

Lucy Mensah

Lucy Mensah is currently an assistant curator of contemporary art at the Detroit Institute of Arts. One of her chief responsibilities is to assist in a contemporary gallery reinstallation project set for 2020. Before the DIA, Mensah was an art history fellow at the Metropolitan Museum of Art. She assisted in acquisition research and collection management. Furthermore, she developed a research project examining the incorporation of West African textile design in Afrofuturist art and fashion. Her educational background combines studies in 20th century African American literature and visual culture. Mensah received a B.A. in English from Bucknell University (2009), an M.A. in Literary & Culture Studies from Carnegie Mellon University (2011), and a Ph.D. in English from Vanderbilt University (2016). Her dissertation, Designing Cities & Men: Post WWII Urban Renewal, Black Masculinity, and African American Aesthetics, examined the influence of post-WWII urban renewal in the literary and visual representations of masculinity by African American writers and artists. She completed a fellowship at the National Museum of American History in the summer of 2013, and worked as a curatorial intern at the Frist Center for the Visual Arts from 2015-2016. She recently co-curated a show at the DIA titled Making Home: Contemporary Works from the DIA, a permanent collection show that presents artwork that portray literal and conceptual ideas of home.

Fari Nzinga

Fari Nzinga earned both her M.A. and Ph.D in Cultural Anthropology from Duke University. She has been living in New Orleans since 2009, where she conducted her dissertation research on Black-led arts organizations and community rebuilding in the post-Katrina historical moment. After graduating from her doctoral program, Fari won the ACLS/Mellon Public Fellowship, and worked for two years at the New Orleans Museum of Art where she was tasked with facilitating institutional transformation around issues of diversity, equity and inclusion. Currently a freelancer, Fari Nzinga is an emerging curator and an Adjunct Professor at Bard Early College in New Orleans where she teaches a popular course on Black feminist thought; and is co-founder of the Color BLOC, an information and resource-sharing platform for the professional advancement of New Orleans-based artists and arts professionals of color.

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