INDEPENDENT CURATORS INTERNATIONAL
events

The Now Museum


The Now Museum: Contemporary Art, Curating Histories, Alternative Models
New Museum
CUNY Graduate Center

What do museums of contemporary art stand for today? The last two decades has seen an unimaginable diversification of the museum as a place for exhibiting art and telling histories, producing innovative education models, promoting international collaborations, forming alternative archives, and facilitating new productions.

This conference aims to tackle key questions around the museum as an institutional entity and contemporary art as an art historical category. Speakers will provide an overview of developments across the Americas, Europe, Asia, Africa, and the Middle East. With particular attention paid to the construction of historical narratives (or their abandonment) through collection displays, the role of research in relation to contemporary art, the alternative models that are already having an impact, and their relationship to more traditional museum infrastructures.

Presented by the Ph.D. Program in Art History at the CUNY Graduate Center, Independent Curators International, and the New Museum.

NowMuseumPanel NowMuseumPanel1 NowMuseumPanel02 NowMuseumPanel03

Left to right: Maria Lind; Dara Birnbaum and Ute Meta Bauer; Claire Bishop, Terry Smith, Okwui Enwezor, and Massimiliano Gioni; Eungie Joo and Gabriel Pérez-Barreiro.

Highlights from the Now Museum: Thursday March 10


SCHEDULE
Thursday, March 10 | 7–9 p.m. | New Museum

7:00 p.m. Welcome
by Lisa Phillips, Toby Devan Lewis Director of the New Museum

7:15 p.m. “Exhibition Machines”
A conversation with artist Paul Chan and Philippe Vergne, Director, Dia Art Foundation, New York.

As we face a moment of exhibition and curatorial inflation, are exhibitions, their space and their time, the ultimate venue or language to represent what artists do? How can an institution provide artists with what they need? Can we experience art and representation beyond exhibitions?


Click here to listen to “Paul Chan and Philippe Vergne, Exhibition Machines” from ICI’s Art on Air series.

 

SCHEDULE
Friday, March 11 | 10 a.m.–6 p.m. | CUNY Graduate Center

10:00 a.m. Welcome Watch video
by Claire Bishop, Associate Professor of Art History, at the CUNY Graduate Center

10:15 a.m. “Revisiting The Late Capitalist Museum”

In 1990, Rosalind Krauss published her seminal essay on museums of contemporary art, arguing that the increased scale of museum architecture led the viewer’s attention to focus on a sublime experience of space itself, rather than to the works of art displayed within it. To what extent have Krauss’s arguments been fulfilled in the last twenty years? And have compelling alternatives to her diagnosis arisen in its wake.

A panel discussion with Bruce Altshuler, Director, Program in Museum Studies, New York University (watch video); Manuel Borja-Villel, Director, Museo Nacional Reina Sofia, Madrid (watch video); and Beatriz Colomina, Professor, Department of Architecture, Princeton University (watch video).
Chaired by Johanna Burton, Director, Bard Center for Curatorial Studies.


Panel_RosalindKraus Panel_RosalindKraus_2 Panel_RosalindKraus3
Beatriz Colomina; Manuel Borja-Villel; Bruce Altshuler; and Johanna Burton; the crowd at the CUNY Graduate Center, March 11, 2011.

 

SCHEDULE
12:00 p.m. “Sources of the Contemporary Museum”? Watch video

When did the sources of curatorial activity that we con- sider to be “contemporary” emerge, and where? How do these precursors relate to the subsequent demands of the globalized contemporary art museum? How does globalization become internalized in both works of art and museum practices?

A conversation with Carlos Basualdo, Curator of Contemporary Art at the Philadelphia Museum of Art, and Curator at MAXXI, Rome, and Pamela M. Lee, Professor, Department of Art and Art History, Stanford University.


Pamela M. Lee and Carlos Basualdo
Pamela M. Lee and Carlos Basualdo.

 

SCHEDULE
2:30 p.m. “The Artist’s Perspective” Watch video

A conversation with artist Dara Birnbaum and Ute Meta Bauer, Associate Professor and Director, Program in Art, Culture, and Technology, MIT.

With the exponential growth of contemporary art museums, what new demands are being placed upon artists? Have women artists benefited from this proliferation? Given that time-based media has been present in the museum for over forty years, how have these works changed museums, and the way audiences use them?

Dara Birnbaum Ute Meta Bauer Tom Finkelpearl
Dara Birnbaum and Ute Meta Bauer; Queens Museum director Tom Finkelpearl asks a question.

 

SCHEDULE
3:40 p.m. “Contemporanizing History/Historicizing the Contemporary” Watch video

Recent attempts to define contemporary art (and contemporaneity) as an era distinct from the modern and the postmodern have all revolved around the question of our relationship to history. How do we periodize the contemporary? Does the distinction between modern and contemporary art hold up in a global context? How has a changed relationship to history, and an awareness of art’s new geographies, been made apparent in recent museum practice?

A panel discussion with Okwui Enwezor, Director, Haus der Kunst, Munich (watch video); Annie Fletcher, Curator, Van Abbe Museum, Eindhoven (watch video); Massimiliano Gioni, Associate Director and Director of Exhibitions, New Museum (watch video); and Terry Smith, Professor of Contemporary Art History and Theory, University of Pittsburgh (watch video).
Chaired by Claire Bishop, Associate Professor of Art History, CUNY Graduate Center. Watch video

TerrySmith  AnnieFletcher Massimiliano Gioni
Terry Smith and Okwui Enwezor; Annie Fletcher; Massimiliano Gioni.

 

SCHEDULE
Saturday, March 12 | 12–6 p.m. | New Museum

12:00 p.m. Welcome
by Eungie Joo, Director and Curator of Education and Public Programs at the New Museum, and Kate Fowle, Director of Independent Curators International Watch video


12:15 p.m. “Extending Infrastructures, Part I: Platforms & Networks” Watch video

The last decade has seen the evolution of institutions that enable the development of networks and collaborations between artists, curators, and organizations both regionally and internationally. These platforms have generated programming and research that goes beyond national or localized mandates of the traditional contemporary art museum, and instead encourages the accumulation of knowledge through shared concerns based on experience and practice. This has led to new ways of thinking about collecting, recording histories, and producing discourse, as well as extending exhibition models and the involvement of artists in the creation of institutional structures. What are the key issues and practices that have generated these new frameworks?

A panel discussion with Zdenka Badovinac, Director, Moderna Galerija, Ljubljana (watch video); Anthony Huberman, Distinguished Lecturer, Hunter College and Director, The Artist’s Institute, New York (watch video); Maria Lind, Director, Tensta Konsthall, Stockholm; and Lu Jie, Director and Chief Curator, Long March Project, Beijing (watch video).
Chaired by Kate Fowle, Director, Independent Curators International, New York.

Maria Lind, Anthony Huberman, and Kate Fowle Zdenka Badovinac, Lu Jie and Claire Bishop Maria Lind and Anthony Huberman
Maria Lind, Anthony Huberman, and Kate Fowle; Zdenka Badovinac, Lu Jie and Claire Bishop; Maria Lind and Anthony Huberman.

 


SCHEDULE
2:30 p.m. “Extending Infrastructures, Part II: Bricks & Mortar” Watch video

Following up on the day’s earlier panel, how are the tangible, physical manifestations necessary for the development of contemporary art infrastructures conceptualized for a specific region, emphasis, or audience? What is necessary to participate meaningfully in international and local contexts? Panelists will discuss the development of contemporary art infrastructures today including the birth of new museums, the relevance of the model, the future of patronage, and challenges.

A panel discussion with Richard Armstrong (watch video), Director, Solomon R. Guggenheim Foundation (watch video); curator and artist Gabi Ngcobo, Johannesburg (watch video); and Gabriel Pérez-Barreiro, Director, Colección Patricia Phelps de Cisneros, New York and Caracas. Chaired by Eungie Joo, Director and Curator of Education and Public Programs, New Museum (watch video).

Gabi Ngcobo Richard Armstrong Audience
Gabi Ngcobo; Richard Armstrong; an audience member asks a question.

 


SCHEDULE
4:45 p.m. “What does the museum stand for now?” Watch video

Responses by Katy Siegel, Professor, Department of Art, Hunter College and Dominic Willsdon, Curator of Education and Public Programs, San Francisco Museum of Modern Art.

Dominic Willsdon and Katy Siegel.
Dominic Willsdon and Katy Siegel.

 


SCHEDULE
Sunday, March 13 | 2–6 p.m. | New Museum

2:00 p.m. “Graduate Students Respond”
A graduate student symposium co-chaired by Claire Bishop, Kate Fowle, and Martin Grossmann, Professor, School of Art and Communications, University of São Paulo.

Panel 1: “Museums and Collections”
Kari Cwynar, Banff Center: “The Museum as a Contact Zone: New Ways of Seeing Art at the Art Gallery of Ontario” (watch video); Alice Heeren, School of the Art Institute of Chicago: “The Inhotim Institute: Articulating Local and Global in Display Strategies in Brazil” (watch video); Saisha Grayson, CUNY Graduate Center: “What Makes a Museum Contemporary? The Van Abbe and MACBA Rethink the Permanent Collection” (watch video).

Saisha Grayson, Alice Heeren, Kari Cwynar, and Kate Fowle.
Saisha Grayson, Alice Heeren, Kari Cwynar, and Kate Fowle.


Kari Cwynar is an emerging curator and art historian based in Banff, Canada. She recently completed her MA in Art History at Carleton University and holds a BAH in Art History from Queen’s University. Cwynar’s graduate research focuses on contemporary curatorial strategies in museum collections, specifically examining the case study of the Art Gallery of Ontario’s 2008 rehang and expansion.  She is currently completing a Curatorial Research Work Study at The Banff Centre.

Alice Heeren is a MA candidate in the Art History, Theory and Criticism department at the School of the Art Institute of Chicago. Born in Belo Horizonte, Brazil, she is finishing her thesis entitled The Inhotim Institute: A Museum in Constant Transformation. She holds BFA in Printmaking and a BA in Art Education from the Universidade Federal de Minas Gerais. Currently, her focus is in contemporary art institutions and museum architecture in Brazil.

Saisha Grayson received an MA in Contemporary Art & Curatorial Studies from Columbia University and is currently a PhD student at the Graduate Center, CUNY where she focuses on contemporary art, feminist theory and museum practices, with a dash of medieval and film studies thrown in. She also does freelance curating around New York, and, in her pre-graduate school years, worked as a communications and PR consultant to museums and arts institutions throughout the United States.  Her recent article, “Disruptive Disguises: The Problem of Transvestite Saints for Medieval Art, Identity, and Identification,” appeared in Medieval Feminist Forum’s Winter 2009 issue.

 


SCHEDULE
Panel 2: “Artists and Museums” Watch video

Jessica Gogan, University of Pittsburgh: “Hélio Oiticica’s Experimental and Constructive Legacy for Contemporary Museums” (watch video); Michelle Jubin, CUNY Graduate Center: “Artist-Educators and Education-as-art in New York” (watch video); Natalie Musteata, CUNY Graduate Center: “Collection as Medium: Why do museums invite artists to re-hang collections?” (watch video).


Natalie Musteata, Michelle Jubin, Jessica Gogan, and Martin Grossmann.
Natalie Musteata, Michelle Jubin, Jessica Gogan, and Martin Grossmann.


Jessica Gogan is a Ph.D. student in Art History at the University of Pittsburgh and an independent curator and educator working in USA and Brazil. In 2010 she curated an exhibition by Brazilian artist José Rufino at The Andy Warhol Museum and co-coordinated educational initiatives for the exhibition “Hélio Oiticica: Museum is the World and the Museum of Modern Art in Rio de Janeiro.” Her article “Museum as Artist: Creative, Dialogic and Civic Practice” published by Animating Democracy/Americans for the Arts, reflects on aspects of her former work as Director of Education at The Andy Warhol Museum.

Michelle Jubin is a doctoral student in Art History at the CUNY Graduate Center, NY. Hailing from Glasgow, UK, she worked as a contributor for BBC Radio Scotland and as an artist’s assistant for the sculptor Andy Goldsworthy before first coming to New York to work at the Solomon R. Guggenheim Museum, New York and, later, Independent Curators International (ICI). She is currently a Graduate Teaching Fellow in Art History at Baruch College. Michelle is a recent contributor to West 86th, the Bard Graduate Center for Decorative Arts and Design journal, and Slashstroke, a London-based art and fashion magazine.

Natalie Musteata is a Ph.D. student in Art History at The Graduate Center, CUNY, and an adjunct lecturer at Kingsborough College. She earned a B.A. with Highest Honors from The University of California, Berkeley. In 2008 she collaborated with Jens Hoffmann on “The Wizard of Oz”, an exhibition at the CCA Wattis Institute. From 2009-2010 she worked as Curatorial Fellow and Research Assistant at Performa. Her essay, “Wired to History: Romanian and Lithuanian Video Art Post 1989” was published on the Former West website. More recently, she participated in “To Act or Not to Act: Ethics in Romanian Cinema”, a conference at the University of Pittsburgh.

 

Founded in 1961, the Graduate Center is the doctorate-granting institution of the City University of New York (CUNY). Funding for this conference has been supplied by the John Rewald Endowment of the PhD Program in Art History.

 

Independent Curators International produces exhibitions, events, publications, and training opportunities for diverse audiences around the world. In thirty-five years of operation, ICI has organized 116 traveling exhibitions, as well as numerous events, publications, and training opportunities for diverse audiences around the world, profiling the work of more than 3,700 artists. Generous support for this conference has been provided by the Gerrit Lansing ICI Fund, created in 2010 to support education and training programs for curators internationally.

 

Founded in 1977, the New Museum was conceived as a center for exhibitions, information, and documentation about living artists from around the world. From its beginnings as a one-room office on Hudson Street to the inauguration of its first freestanding, dedicated, SANAA-designed building on the Bowery in 2007, the New Museum continues to be a hub of new art and new ideas and is a place of ongoing experimentation about what art and arts institutions can be in the twenty-first century. Education and public programs are made possible by a generous grant from Goldman Sachs Gives at the recommendation of David and Hermine Heller. Endowment support for education programs is provided by the Rockefeller Brothers Fund, the Skadden, Arps Education Programs Fund, and the William Randolph Hearst Endowed Fund for Education Programs at the New Museum.

March 10, 2011 - March 13, 2011

Ph.D Program in Art History
CUNY Graduate Center
365 5th Avenue
New York, NY 10016

and

New Museum
235 Bowery
New York, NY 10002

presenter

Philippe Vergne

Philippe Vergne has served as Director of the Dia Art Foundation in New York since 2008, following his tenure as Deputy Director and Chief Curator of the Walker Art Center in Minneapolis, where he inaugurated over twenty-five international exhibitions. He was co-curator with Chrissie Iles of the 2006 Whitney Biennial. In 2008 he organized “Kara Walker: My Compliment, My Enemy, My Oppressor, My Love,” which was awarded the “best monograph museum show nationally” by the International Association of Art Critics. Vergne’s “Yves Klein: With the Void, Full Powers” traveled from the Hirshhorn Museum to the Walker Art Center in 2010–11.


Paul Chan

Paul Chan is an artist who lives and works in New York. Recent solo exhibitions include the New Museum, New York; Serpentine Gallery, London; the Stedelijk Museum, Amsterdam; The Fabric Workshop and Museum, Philadelphia; and Portikus, Frankfurt. Chan’s single channel videos have been screened in film festivals worldwide, including the 2007 Sundance Film Festival. In November 2007, he collaborated with Creative Time and the Classical Theatre of Harlem to stage free site-specific performances of Samuel Beckett’s play, Waiting for Godot in New Orleans.


Bruce Altshuler

Bruce Altshuler is Director of the Program in Museum Studies in the Graduate School of Arts and Science at New York University. His prior positions include Director of the Isamu Noguchi Garden Museum, Long Island City, New York, and Director of Studies of Christie’s Education, New York. He is the author of Biennials and Beyond: Exhibitions that Made Art History, 1962-2002 (2013), Salon to Biennial: Exhibitions that Made Art History, Vol. 1, 1863-1959 (2008), The Avant-Garde in Exhibition (1994) and the monograph Isamu Noguchi (1994), and editor of Collecting the New: Museums and Contemporary Art (2005). Altshuler has lectured internationally and has written extensively about modern and contemporary art, including catalog essays for exhibitions at the Whitney Museum of American Art, Carnegie Museum of Art, Japan Society, Fundacion Juan March, Arthur M. Sackler Gallery, Vitra Design Museum, and Independent Curators International. He has been a member of the graduate faculty of the Bard Center for Curatorial Studies, and the Board of Directors of the International Association of Art Critics/United States Section.


Ute Meta Bauer

Ute Meta Bauer is Founding Director of Nanyang Technological University (NTU) Centre for Contemporary Art (CCA) in Singapore. Bauer is also Professor of Art at NTU’s School of Art, Media, and Design. She was previously Associate Professor and the Director of the Program in Art, Culture, and Technology at MIT’s School of Architecture and Planning, where she had served as Director of the MIT Visual Arts Program from 2005-09. From 1996-2006, Bauer held an appointment at the Academy of Fine Arts Vienna as a professor of theory and practice of contemporary art. Educated as an artist for more than two decades Bauer has worked as a curator of exhibitions and presentations on contemporary art, film, video, and sound, with a focus on transdisciplinary formats. She was a co-curator of Documenta 11 (2001/2002) in the team of Okwui Enwezor, has been the artistic director of the 3rd Berlin Biennial (2004) and in 2005 curated the Mobile_Transborder Archive for InSite05, Tijuana /San Diego.


Dara Birnbaum

Dara Birnbaum is an artist who lives and works in New York. A retrospective exhibition of her work was organized by S.M.A.K. Stedelijk Museum voor Actuele Kunst, Gent, Belgium in 2009 and then traveled to Museu Serralves, Porto, Portugal in 2010. In conjunction with the retrospective, a major monograph on Birnbaum’s work, The Dark Matter of Media Light, was published. Her work has been exhibited at the Whitney Museum of American Art; the Reina Sofia, Madrid; MACBA, Barcelona; The Metropolitan Museum of Art, New York; Modern Museet, Stockholm, Sweden; The National Museum of Modern Art, Tokyo; the Museum of Modern Art, New York; the Museum of Contemporary Art, Los Angeles; and the Centre Georges Pompidou, Paris, amongst others. This year, Birnbaum was awarded a Creative Artist Residency at the Bellagio Center of the Rockefeller Foundation.


Kate Fowle

Kate Fowle is the chief curator for the Garage Museum of Contemporary Art in Moscow and Director-at-Large at Independent Curators International (ICI) in New York, where she was Executive Director from 2009-13. Prior to this she was the inaugural International Curator at Ullens Center for Contemporary Art in Beijing. From 2002-2007 Fowle was Chair of the Master’s Program in Curatorial Practice at California College of the Arts in San Francisco, which she co-founded in 2001. Before moving to the United States she was Co-Director of Smith + Fowle in London (1996-2001) and Curator at the Towner Art Gallery in Eastbourne (1993-6).


Okwui Enwezor

Okwui Enwezor is the newly appointed director of the Haus der Kunst, Munich. His work is engaged in postcolonial studies and African contemporary art and their relationships to acts of political resistance. Enwezor has written for many publications, including Nka: Journal of Contemporary African Art, of which he is a founding editor. He has served on numerous advisory boards, juries, and curatorial teams, and is the current Artistic Director of Meeting Points 6. Enwezor has served artistic director of the 2nd Johannesburg Biennial (1998), Documenta 11 (2002), the Bienial Internacional de Arte Contemporaneo de Sevilla (2006), and the 7th Gwangju Biennial (2008). He was Dean of Academic Affairs at San Francisco Art Institute (2005–09).


Claire Bishop

Claire Bishop is a Professor of Art History at the CUNY Graduate Center. Bishop is an internationally acknowledged scholar of contemporary art. Her dissertation was published as Installation Art: A Critical History and quickly became an indispensable resource for anyone interested in the subject. Her edited volume, Participation (MIT Press, 2006), is also highly regarded in the field. She is the author of two influential essays—“Antagonism and Relational Aesthetics” (October, 2004) and “The Social Turn: Collaboration and its Discontents” (Artforum, 2006). Both have been translated and reprinted a number of times. Bishop curated the exhibition Double Agent (2008) at the London ICA, and is working on a book about socially-engaged art and spectatorship.
She holds a Ph.D. from the University of Essex.


Eungie Joo

Eungie Joo is Director of Art and Cultural Programs at Instituto Inhotim in Brazil. Formerly, Joo was Keith Haring Director and Curator of Education and Public Programs at the New Museum in New York (2007-12), where she spearheaded the Museum as Hub initiative. Before joining the New Museum, Joo was the founding director and curator of the Gallery at REDCAT in Los Angeles (2003–7). She was the Commissioner for the Korean Pavilion at the 53rd International Venice Biennale in 2009, and organized the 2012 New Museum Triennial. Joo was a recipient of the Walter Hopps Award for Curatorial Achievement in 2006.


Manuel Borja-Villel

Manuel Borja-Villel has been the Director of the Museo Nacional Centro de Arte Reina Sofía since January 2008, where he has led the reorganization of the permanent collection. From 1998–2008, Borja-Villel was director of the Museu d’Art Contemporani de Barcelona (MACBA). Among the exhibitions he programmed at the MACBA were shows dedicated to Vito Acconci, El Lissitzky, Öyvind Fahlström, Peter Fischli & David Weiss, Robert Frank, David Goldblatt, Luís Gordillo, Raymond Hains, Richard Hamilton, William Kentridge, Perejaume, Michelangelo Pistoletto, Gerhard Richter, Martha Rosler, and Antoni Tàpies, among others. Borja-Villel was also a member of the Consulting Committee of Documenta 12 (2007), and the chair of the jury for the 52nd Venice Biennial (2007).


Beatriz Colomina

Beatriz Colomina is an architectural historian and theorist who has written extensively on questions of architecture and media. Her books include Privacy and Publicity: Modern Architecture as Mass Media (1994), which was awarded the 1995 International Book Award by the American Institute of Architects; Sexuality and Space (1992), which was awarded the 1993 International Book Award by the American Institute of Architects; and Architectureproduction (1988). Colomina is Professor of Architecture and Founding Director of the Program in Media and Modernity at Princeton University.


Johanna Burton

Johanna Burton is Director and Curator of Education and Public Engagement at the New Museum. Prior to holding this position, she was the Director of The Center for Curatorial Studies at Bard College Masters program, and Associate Director and Senior Faculty Member at the Whitney Museum of American Art’s Independent Study Program. Her writing has appeared in publications including Artforum, October, and Texte Zur Kunst.


Carlos Basualdo

Carlos Basualdo is the Keith L. and Katherine Sachs Senior Curator of Contemporary Art at the Philadelphia Museum of Art, where he oversees the Museum’s Department of Contemporary Art. In 2006, he initiated two exhibition series at the Museum called Notations and Live Cinema, both of which are devoted to the permanent collection and video. He was the lead organizer of Bruce Nauman: Topological Gardens that represented the United States at the 2007 Venice Biennale, where it was awarded the Golden Lion for Best National Participation. In 2010 he organized a survey exhibition of the work of the Italian artist Michelangelo Pistoletto, a collaboration between the Philadelphia Museum of Art and MAXXI (Museo nazionale delle arti del secolo XXI), where it traveled in the spring of 2011. Most recently, he organized Dancing Around the Bride: Cage, Cunningham, Johns, Rauschenberg and Duchamp, which opened in Philadelphia in October of 2012. He has was part of the curatorial teams for Documenta11, the 50th Venice Biennale and conceived and curated Tropicalia: A Revolution in Brazilian Culture, which traveled from the MCA Chicago to the Barbican Gallery in London (2004/2005) as well as the Bronx Museum in New York and the Museu de Arte Moderna in Rio de Janeiro (2006/2007). From 2010 until 2013 he worked as Curator at Large at MAXXI Arte, in Rome, Italy.


Pamela M. Lee

Pamela M. Lee is an art historian who specialises in the art, theory, and criticism of late modernism with a historical focus on the 1960s and 1970s. A recipient of a postdoctoral fellowship from the Getty Institute, Lee’s publications include Object to Be Destroyed: The Work of Gordon Matta-Clark (2000), Chronophobia: On Time in the Art of the 1960s (2004), and most recently Art History Since the Sixties: Theories of Modernism and Postmodernism in the Visual Arts (2011). She is Professor in the Department of Art and Art History at Stanford University.


Annie Fletcher

Annie Fletcher is currently Curator of Exhibitions at the Van Abbemuseum, Eindhoven, and tutor at De Appel, Amsterdam. She recently curated “After the Future” at eva International Biennial of Visual Art in 2012. Other projects include solo exhibitions or presentations with Sheela Gowda, David Maljkovic, Jo Baer, Jutta Koether, Cerith Wynn Evans, Deimantas Narkevicius, Minerva Cuevas, and the long term projects, Be(com)ing Dutch (2006-09) and Cork Caucus (2005) with Charles Esche. She was co-founder and co-director of the rolling curatorial platform “If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution” with Frederique Bergholtz (2005-10). As a writer she has contributed to various magazines including Afterall and Metropolis M. She is currently working on the “Museum of Arte útil” with Tanja Bruguera, which will open in the fall of 2013 at the Van Abbemuseum.


Massimiliano Gioni

Massimiliano Gioni is the Artistic Director of both the New Museum in New York and the Nicola Trussardi Foundation in Milan. He recently curated “10.000 Lives,” the 8th Gwangju Biennial. At the New Museum, Gioni has curated the solo exhibitions of Paul Chan, Urs Fischer, and Lynda Benglis. He was also one of the curators of “The Generational: Younger Than Jesus,” the first New Museum Triennial. And in 2008 he curated the group show “After Nature.” In 2006 Gioni curated the 4th Berlin Biennale with Maurizio Cattelan and Ali Subotnick, and co-curated Manifesta 5 in 2004 in San Sebastian (Spain). At the Trussardi Foundation he has organized various solo shows and public art projects with, among others, Paweł Althamer, Tacita Dean, Fischli and Weiss, Paul McCarthy, Paola Pivi, Anri Sala, and Tino Sehgal.


Terry Smith

Terry Smith, FAHA, CIHA, is Andrew W. Mellon Professor of Contemporary Art History and Theory in the Department of the History of Art and Architecture at the University of Pittsburgh. In 2010 he was named the Australia Council Visual Arts Laureate, and won the Mather Award for art criticism conferred by the College Art Association (USA). During 2001-2002 he was a Getty Scholar at the Getty Research Institute, Los Angeles, in 2007-8 the GlaxoSmithKlein Senior Fellow at the National Humanities Research Centre, Raleigh-Durham, and in 2014 Clark Fellow at the Clark Institute, Williamstown. From 1994-2001 he was Power Professor of Contemporary Art and Director of the Power Institute, Foundation for Art and Visual Culture, University of Sydney. In the 1970s he was a member of the Art & Language group (New York) and a founder of Union Media Services (Sydney). He is the author of a number of books, notably Making the Modern: Industry, Art and Design in America (University of Chicago Press, 1993); Transformations in Australian Art (Craftsman House, Sydney, 2002); The Architecture of Aftermath (University of Chicago Press, 2006), What is Contemporary Art? (University of Chicago Press, 2009), Contemporary Art: World Currents (Laurence King and Pearson/Prentice-Hall, 2011), and Thinking Contemporary Curating (Independent Curators International, New York, 2012). He is editor of many others including Antinomies of Art and Culture: Modernity, postmodernity and contemporaneity (with Nancy Condee and Okwui Enwezor, Duke University Press, 2008). A foundation Board member of the Museum of Contemporary Art, Sydney, he is currently a Board member of the Carnegie Museum of Art, Pittsburgh. http://www.terryesmith.net/web/


Lu Jie

Lu Jie is currently based in Beijing, where since 2002 he has been chief curator of the Long March Project, a complex, multi-platform, international arts organization and ongoing art project, originally conceived as a series of exhibitions, performances, symposia, and discussions at public sites in China along the route of Mao Zedong’s historic Long March. He graduated in 1988 with a B.F.A. from the China Academy of Arts in Hangzhou, and received an M.A. in curating in 1999 from Goldsmiths College, University of London. Lu is currently an advisor for the Asia Art Archive in Hong Kong; and on the Editorial Board Yishu – Journal of Contemporary Chinese Art (Vancouver). He has curated numerous contemporary art projects and exhibitions, including the following Long March projects, which were presented in various international locations: A Walking Visual Display (2002), The Great Survey of Paper-cutting in Yanchuan County (2004), Yan’an Project (2006), No Chinatown (2007), and Ho Chi Minh Trail (Duong Truong Son) (2008-ongoing). Lu has given lectures and talks at numerous educational institutions and museums in Asia, Europe, and North America.


Anthony Huberman

Anthony Huberman is a curator and writer based in New York, where he is currently the director of The Artist’s Institute and a distinguished lecturer at Hunter College. As chief curator of the Contemporary Art Museum St. Louis, he organized exhibitions of Gedi Sibony, Lutz Bacher, Bruce Nauman, John Armleder, and Olivier Mosset, and initiated the ongoing exhibition series The Front Room. His recent group exhibition, For the blind man in the dark room looking for the black cat that isn’t there, traveled to museums in London, Detroit, Amsterdam, and Lisbon. He has previously worked as a curator at the Palais de Tokyo in Paris and at SculptureCenter in Long Island City, New York, and has published articles in art periodicals including Artforum, Afterall, and DotDotDot. He also co-directs The Steins, an occasional series of short exhibitions in New York.


Maria Lind

Maria Lind is a curator, writer and educator based in Stockholm. She is the director of Tensta konsthall, Stockholm, and the artistic director of the 11th Gwangju Biennale. She was director of the graduate program, Center for Curatorial Studies, Bard College (2008-2010) and director of Iaspis in Stockholm (2005-2007). From 2002-2004 she was the director of Kunstverein München where, together with a curatorial team including the curator Sören Grammel, she ran a program including artists such as Deimantas Narkevicius, Oda Projesi, Annika Eriksson, Bojan Sarcevic, Philippe Parreno and Marion von Osten. From 1997-2001 she was curator at Moderna Museet in Stockholm, responsible for Moderna Museet Projecs with 29 commissions with among others Simon Starling, Apolonija Sustersic, Koo Jeong-a and Matts Leiderstam, and, in 1998, co-curator of Manifesta 2. She has taught widely since the early 1990s, for example at the Art Academy in Munich and the Royal Institute of Art in Stockholm. Currently she is professor of artistic research at the Art Academy in Oslo. She has contributed widely to newspapers, magazines, catalogues and other publications. Among her recent co-edited publications are Contemporary Art and Its Commercial Markets: A Report on Current Conditions and Future Scenarios, Performing the Curatorial: With and Beyond Art, and Art and the F Word: Reflections on the Browning of Europe, all at Sternberg Press. She edited Abstraction as part of MIT’s and Whitechapel Gallery’s series Documents on Contemporary Art. She is the 2009 recipient of the Walter Hopps Award for Curatorial Achievement. In the fall of 2010 Selected Maria Lind Writing was published by Sternberg Press.


Gabriel Pérez-Barreiro

Gabriel Pérez-Barreiro is an international curator, interested in the relation of art within the Americas. He is Director of the Colleción Patricia Phelps de Cisneros in New York and Caracas. He has been Curator of Latin American art at the Blanton Museum of Art, the University of Texas at Austin; Director of Visual Arts at The Americas Society in New York; and founding curator of the University of Essex Collection of Latin American Art in England. He was also chief curator of the 6th Mercosur Biennial in Porto Alegre, Brazil.


Gabi Ngcobo

Gabi Ngcobo is a curator and artist based in Johannesburg, South Africa. She has worked as Assistant Curator at the South African National Gallery in Cape Town and as Head of Research for Cape Africa Platform. She was a founding member of the Visual Arts Network of South Africa (VANSA). In 2010 she co-curated rope-a-dope: to win a losing war at Cabinet in New York. Ngcobo is the head of the “Incubator for a pan-African Biennale task-force,” a yearlong project arranged to facilitate the articulation of critical positions regarding the notion of a Pan-African Biennial. In 2010 she founded the Center for Historical Reenactments in Johannesburg, where she currently serves as Director.


Richard Armstrong

Richard Armstrong is the Director of the Solomon R. Guggenheim Foundation. While managing this foundation, he oversees the Guggenheim Museum in New York as well as their worldwide affiliations, such as the Peggy Guggenheim collection in Venice, the Guggenheim Museum Bilbao, the Deutsche Guggenheim, and the Guggenheim Abu Dhabi Museum, scheduled to open in early 2013. Prior to this position, Armstrong was the Henry J. Heinz II director of the Carnegie Museum of Art in Pittsburgh, where he had also served as Chief Curator and Curator of Contemporary Art.


Katy Siegel

Katy Siegel is the Senior Programming and Research Curator at the Baltimore Museum of Art, the inaugural Eugene V. and Clare E. Thaw Endowed Chair in Modern American Art at Stony Brook University and a contributing editor to Artforum. She has written many essays on modern and contemporary artists, including Paul Pfeiffer, David Reed, Bernard Frize, and most recently, Mark Bradford. Siegel was previously Associate Professor of Art History and chief curator of the galleries at Hunter College and editor in chief of Art Journal. She was also the curator of High Times, Hard Times: New York Painting, 1967-1975, which toured internationally. Her most recent books are Since ‘45: America and the Making of Contemporary Art, out this March from Reaktion, and Abstract Expressionism, out this fall from Phaidon.


Dominic Willsdon

Dominic Willsdon is an educator and curator. Since 2006, he has been Leanne & George Roberts Curator of Education and Public Programs at the San Francisco Museum of Modern Art, and Adjunct Professor in Curatorial Practice at the California College of the Arts. He is also currently a Curatorial Cloud Fellow of the 9th Mercosul Biennial in Porto Alegre which opens in September 2013. From 2000-05, he was Curator of Public Programs at Tate Modern. He is a former editor of the Journal of Visual Culture, has written on visual culture, politics, and education, and is co-editor (with Diarmuid Costello) of The Life and Death of Images: Ethics and Aesthetics (Cornell UP, 2008). His exhibition (co-curated with Betti-Sue Hertz and Frank Smigiel) Public Intimacy: Art and Social Life in South Africa opens in February 2014.


Natalie Musteata

Natalie Musteata is a Ph.D. student in Art History at The Graduate Center, CUNY, and an adjunct lecturer at Kingsborough College. She earned a B.A. with Highest Honors from The University of California, Berkeley. In 2008 she collaborated with Jens Hoffmann on “The Wizard of Oz”, an exhibition at the CCA Wattis Institute. From 2009-2010 she worked as Curatorial Fellow and Research Assistant at Performa. Her essay, “Wired to History: Romanian and Lithuanian Video Art Post 1989” was published on the Former West website. More recently, she participated in “To Act or Not to Act: Ethics in Romanian Cinema”, a conference at the University of Pittsburgh.


Saisha Grayson

Saisha M. Grayson is the Assistant Curator at the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum. Saisha Grayson joined the Museum in 2011, where she previously served as a graduate intern in 2008, and has provided key support on each of the Center’s special exhibitions since, including the award-winning “Materializing ‘Six Years:’ Lucy Lippard and the Emergence of Conceptual Art.” She served as organizing curator of the Museum’s presentation of “Wangechi Mutu: A Fantastic Journey,” and curated the center’s most recent exhibition, “Chitra Ganesh: Eyes of Time.” Prior to her tenure at the Museum, Grayson was editorial assistant on several catalogues, including Nayland Blake: Behavior (2008), the monograph Ghada Amer (2010); coauthor of the catalogue essay “Pinaree Sanpitak: Quietly Floating” (2010); and author of “Disruptive Disguises: The Problem of Transvestite Saints for Medieval Art, Identity, and Identification,” (2009) and “Breathing Between the Lines: Re-Deconstruction in Chitra Ganesh’s Tales of Amnesia” (2011). She received her MA in Contemporary Art & Curatorial Studies from Columbia University and is currently a Ph.D candidate at the Graduate Center, CUNY, where she focuses on contemporary art, performance, feminist theory, and exhibition history, with an in-progress dissertation on Charlotte Moorman. She previously taught in the art history department at Queens College, freelance curated around New York, and worked as a communications consultant for a variety of museums and arts institutions. She was the recipient of an Enhanced Chancellor’s Fellowship at the Graduate Center and a research residency at the Van Abbemuseum, Eindhoven, NL.


Alice Heeren

Alice Heeren is a MA candidate in the Art History, Theory and Criticism department at the School of the Art Institute of Chicago. Born in Belo Horizonte, Brazil, she is finishing her thesis entitled The Inhotim Institute: A Museum in Constant Transformation. She holds BFA in Printmaking and a BA in Art Education from the Universidade Federal de Minas Gerais. Currently, her focus is in contemporary art institutions and museum architecture in Brazil.


Michelle Jubin

Michelle Jubin is a doctoral student in Art History at the CUNY Graduate Center, NY. Hailing from Glasgow, UK, she worked as a contributor for BBC Radio Scotland and as an artist’s assistant for the sculptor Andy Goldsworthy before first coming to New York to work at the Solomon R. Guggenheim Museum, New York and, later, Independent Curators International (ICI). She is currently a Graduate Teaching Fellow in Art History at Baruch College. Michelle is a recent contributor to West 86th, the Bard Graduate Center for Decorative Arts and Design journal, and Slashstroke, a London-based art and fashion magazine.


Jessica Gogan

Jessica Gogan is a Ph.D. candidate in Art History at the University of Pittsburgh and independent curator and educator working in the US and Brazil. Currently, she co-coordinates the Experimental Nucleus of Education & Art at the Museum of Modern Art in Rio de Janeiro and recently completed an evaluation of the pedagogic project of the 8th Mercosul Biennal, Porto Alegre, Brazil. In 2010 she curated an exhibition by Brazilian artist José Rufino at The Andy Warhol Museum and co-coordinated educational initiatives for the exhibition Hélio Oiticica: Museum is the World. Her article “Museum as Artist: Creative, Dialogic and Civic Practice” reflects on aspects of her former work as Director of Education at The Andy Warhol Museum.


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