events

Grace Aneiza Ali

Grace Aneiza Ali is an Assistant Professor/Provost Faculty Fellow in Art & Public Policy at the Tisch School of the Arts, New York University.  Ali’s curatorial research practice and exhibitions center on socially engaged art practices as well as contemporary art of the Caribbean and its diaspora. Her most recent curatorial projects include “In/Visible: Portraits of Farmers and Spice Porters of India” (NYU Kimmel Galleries); “Un|Fixed Homeland” (Aljira Center for Contemporary Art); and “Liminal Space” (Caribbean Cultural Center).  She is the founder and curator of Guyana Modern, an online platform for the contemporary arts and culture of Guyana and its diaspora. She is also the founder and editorial director of OF NOTE Magazine — an award-winning nonprofit arts journalism initiative reporting on the intersection of art and politics and global arts activism. Her essays on contemporary art have been published in Nueva Luz Journal, Small Axe Journal, Harvard’s Transition Magazine, and Wasafiri Journal (London) among others.  Ali is the recipient of the following awards that have generously supported her work: NYU Provost Faculty Fellowship, Paul Mellon Centre for Studies in British Art Grant, Andy Warhol Foundation for the Visual Arts Curatorial Fellowship, Fulbright Fellowship, and the NYU Henry M. MacCracken Fellowship.

Zoë Chan

Zoë Chan is an independent Canadian curator and critic. She is currently a recipient of the Canada Council Project Grant to Curators and Critics for research focusing on representations of youth and youth aesthetics in contemporary art and visual culture. In the fall of 2014, she will guest curate Bande à part/Kids these days, a group exhibition featuring artists who document youth and youth cultures, for the Foreman Art Gallery of Bishop’s University in Sherbrooke, Québec. In summer of 2014, she and artist Mark Clintberg launched a research project entitled Everyday Cooking, Cooking Every Day at the artist-run center Articule in Montréal, which made links between domestic cooking and artistic and curatorial practices. In 2012, she curated Personal Mythologies with artists Osvaldo Ramirez Castillo and Marigold Santos for the MAI (Montréal, arts interculturels), where she was visual arts programmer between 2006 and 2010. As a critic, she has written on a range of artists, including Song Dong, Rabih Mroué, and Joana Hadjithomas and Khalil Joreige, for Canadian Art, C Magazine, Esse, ETC, and Ricepaper. Zoë Chan has a Master’s degree in Art History (2008) from Concordia University in Montréal, where she wrote on primitivism and young masculinities in Larry Clark’s photography and films.

Rachel Cook

Rachel Cook is the Artistic Director of On the Boards, a Contemporary Performance Center in Seattle. Prior to On the Boards, Cook was Curator at DiverseWorks in Houston, Texas where she commissioned projects by Keren Cytter, Danielle Dean, Kate Gilmore, Chelsea Knight, Kristin Lucas, Liz Magic Laser, Wu Tsang, Heather Rowe, taisha paggett, Sondra Perry, Shelia Pepe, Julien Prévieux, and Mark Tribe. Additionally, Cook curated a number of group exhibitions and performance pieces including What Shall We Do Next? that considered ideas of the real in relation to physical materials, technology, and advertising. Also, The School for the Movement of the Technicolor People, a large-scale installation and performance platform by Los Angeles-based artist taisha paggett and WXPT in collaboration with Ashley Hunt and Kim Zumpfe in which the question, “What is a Black dance curriculum today?” was posed with local company members. In 2015 she received a Curatorial Fellowship from The Andy Warhol Foundation for the Visual Arts to research a series of Walker Evans’ photographs from the African Negro Art exhibition at MoMA in 1935. Cook holds a MA from the Center for Curatorial Studies at Bard College and a BFA from the San Francisco Art Institute. She currently serves on the Board of Directors of the National Performance Network.

Miriam de Miguel

Miriam de Miguel explores the role of collaborative and participatory artistic practices in contemporary art. She has coordinated the public programs of Americas Society’s Visual Arts department in New York and conducted education projects at the Lazáro Galdiano Museum in Madrid, the Brooklyn Historical Society, the Fundación / Colección Cisneros (CPPC), and the Metropolitan Museum of Art.  Having worked with contemporary Latin American art and emerging art from Spain, she is also interested in cultural management within a global context. Miriam received a Master’s in Museum Studies from New York University with a Fulbright scholarship, and holds a degree in Art History from Complutense University of Madrid. She is currently a MAEC-AECID Fellow at the Embassy of Spain’s Cultural Office. She is originally from Madrid, but is currently based in Washington DC.

Bruna Fetter

Professor and researcher at the Art Institute at UFRGS, Bruna Fetter holds a PhD in Art History, Theory and Criticism (PPGAV/UFRGS). She was a Fulbright Visiting Researcher at New York University (2014/2015) as part of her PhD research. She curated the shows “From the abyss and other distances” (Mamute Galeria, Porto Alegre / 2017), “Expeditions by the Paragem das Conchas” (Espaço de Artes da UFCSPA, Porto Alegre / 2016), “Sensitive matter: affection and form in the MAC/RS collection” (Porto Alegre/2014), “The seventh continent” (Zipper Galeria, São Paulo / 2014) and “Anywhere” (Casa Triângulo, São Paulo / 2013). She also curated the exhibition “Mutatis mutandis” with Bernardo de Souza (Largo das Artes, Rio de Janeiro/2013) and “Carefully, through” with Angélica de Moraes (São Paulo/2012). Between 2006 and 2007 she coordinated the executive production team of the 6th Mercosur Biennial. From 2010 to 2013 she was an external consultant of the Ministry of Culture in the areas of Visual Arts; Transversality of Culture and Cultural Heritage. Between 2013 and 2014 she took part at the Collection and Curatorship Committee of the Museum of Contemporary Art of Rio Grande do Sul. She is a member of ANPAP (Brazilian Association of Visual Arts Researchers), ABCA (Brazilian Association of Art Critics) and AICA (International Association of Art Critics). She is a co-author of the book “The new rules of the game: the art system in Brazil”, published in 2014 by Zouk. She also collaborated in the publications “Visual arts - Brazilian contemporary essays” (org. Fernando Cocchiarale, André Severo and Marília Panitz, FUNARTE, 2017), “Contemporary practices of moving” (org. Michelle Sommer, Circuito, 2015) and “The ladies have the floor: dialogues on the insertion of women in the visual arts” (org. Lilian Maus, Panorama Crítico, 2014).

Jessica Gallucci

Jessica Gallucci is an independent curator based in New York City. She is a May 2014 graduate of New York University’s M.A. program in visual arts administration, prior to which she held editorial positions at The Economist, Intelligent Life, and Vogue. In 2010 she became co-director of A.D. Projects, a curatorial collaborative dedicated to presenting the work of emerging contemporary artists in alternative spaces in New York City. In 2014, their artist collaborators were included in the Whitney Biennial, featured in the Brooklyn Museum’s Artists Ball, and had work accessioned by the Smithsonian National Museum of African American Culture. Gallucci wrote her graduate thesis on contemporary art of the Middle East, and has recently completed an internship with Taymour Grahne Gallery in New York. She holds a B.A. in English from Georgetown University.

Jeanne Gerrity

Jeanne Gerrity is a curator, writer, and editor based in San Francisco. She most recently held the position of Curatorial Associate at the Contemporary Jewish Museum in San Francisco, and has previously worked at the alternative art spaces Southern Exposure in San Francisco and Smack Mellon in Brooklyn. In 2013 she curated the exhibition Work in Progress: Considering Utopia with the artists Elisheva Biernoff, Oded Hirsch, and Ohad Meromi at the Contemporary Jewish Museum. She has also curated exhibitions at di Rosa, Napa, CA; Queens Nails Gallery, San Francisco; BRIC Rotunda Gallery, Brooklyn; Artists Space, New York; Bloomberg Headquarters, New York; ISE Foundation, New York; Brooklyn Arts Council Gallery; and the Wallach Art Gallery, New York. She attended the Gwangju Biennale International Curator Course in 2010, and she received the Lori Ledis Emerging Curator Fellowship in 2008. Jeanne has written for print publications such as Frieze, Art Papers, FlashArt, ArtReview Asia, and Yishu: Journal of Contemporary Chinese Art, as well as contributing to the websites Rhizome and KQED Arts. She is an associate editor and staff writer at the online arts journal Art Practical. Jeanne received her BA in Art History from Brown University and her MA in Modern Art – Curatorial Studies from Columbia University.

Sarah Hardie

Sarah Hardie is a curator, artist and writer that explores the politics and relations attached to the human voice. She graduated with an MA in Fine Art from the University of Edinburgh and Edinburgh College of Art (a joint degree) with Distinction in Painting, and went on to study a Masters in History of Art at the Courtauld Institute of Art. Following this, she co-wrote, directed, curated and performed in a solo site-specific, digital, live, choral show ‘the stars sang last tuesday’ at New Media Scotland, Edinburgh. She was selected to show in the Royal Scottish Academy New Contemporaries 2012 exhibition of the best emerging talent in Scotland, winning the Stuart Prize. She writes for internationally distributed art magazine, Line Magazine, in which she was recently published on Ed Atkins’ work—co-editing the Edinburgh Art Festival Edition, 2011. She is currently writing for Afterall Online on the capitalist crisis and love as represented in David Austen’s END OF LOVE. Sarah also works full-time for the Serpentine Galleries in their fundraising team, covering for the Head of Trusts Foundations and Grants, and frequently gives curatorial tours.

Robin Newman

Robin Newman (b.1988, Los Angeles, CA) works in art in a multidisciplinary fashion. Newman is an artist and curator who has worked extensively as an art critic, as a contributor to Dossier Journal, and has written for Flash Art and Art Agenda among other publications. He attended California Institute of the Arts for fine art and received a minor in the humanities. As a graduate student he studied contemporary art at the Sotheby’s Institute of Art. Newman’s curatorial practice focuses on emerging artists and progressive work. His projects have taken the form of publication as exhibition and been held in artist run spaces.

Valquíria Prates

Valquíria Prates holds a degree in Linguistics and Literature, and a Master in Public Policies for Education and has been engaged in research at University of São Paulo since her graduation, when she started working at the Museum of Contemporary Art educational projects. In 2006, she’s founded |quadrado|, a studio that develops, implements and evaluates public programs for institutions and exhibitions, publications, exhibitions, artistic and educational projects with a focus on contemporary languages of arts and literature. The studio works in partnership with museums and cultural institutions in several Brazilian cities, collaborating in the creative process of exhibitions and actions. Among the projects she’s been engaged are: Museu de curiosidades pedagógicas, Colaboratório (CCSP-SP), Bibliotoca (SESC-SP), Arte à primeira vista (Caixa Cultural, Unifor, SESC, Palácio das Artes), 18th. Festival Videobrasil and FIU Joseph Beuys (SESC-Videobrasil), and Inflamável - Leonilson (MAC-CE). Currently, she is Curator of Public Programs at the Museum of Image and Sound of Rio de Janeiro (MIS-RJ).

Rotem Rozental

Rotem Rozental is the Chief Curator of the American Jewish University in Los Angeles, CA. In this capacity, she serves as the Assistant Dean of the Whizin Center and the Director of the Institute for Jewish Creativity (IJC). Rotem is a photo-historian, writer, and curator. Traversing the domains of technology, media and art, Rotem has been working as a consultant, editor, writer, educator and organizer for international publications, cultural non-profits and organizations, among them Dia:Beacon, The Liverpool Biennial, The Brooklyn Institute for Social Research, and the Jerusalem Season of Culture. Her scholarly and curatorial projects were also supported by Artis, Independent Curators International, NurtureArt and the Center for Jewish History (NYC).  Most recently, she curated the dual exhibition Launch Sites L.A., which expands unto two sites in Los Angeles, several countries and a number of potential universes. Rotem’s writings and academic essays appeared in magazines, journals, and publications such as Photographies, Philosophy of Photography, Artforum.com, Tablet.com, and Uncertain States. Rotem is currently pursuing her Dissertation project, in which she explores the intersections of Zionist photographic archives, the image of the body and the writing of a national territory under the guidance of Prof. John Tagg (Binghamton University, NY).

Pinar Üner Yilmaz

Pinar Üner Yilmaz is a PhD candidate at the University of Illinois at Chicago (UIC) in the Art History Department, where her area of concentration is contemporary art with a particular interest in cross-cultural curatorial studies and Istanbul Biennials. She received her Bachelor’s degree in Art Management in 2006 and Master’s degree in Art and Design in 2009 from Yildiz Technical University in Istanbul, Turkey. During her undergraduate senior year, she worked as an assistant curator for an exhibition at the Istanbul Museum of Modern Arts, and upon graduation, was employed as a research assistant in the same department. In the following four years, she was an assistant curator in distinguished art centers in Istanbul. Since then, she has participated in several art events in pioneering art institutions such as Eczacibasi Virtual Museum, Istanbul Museum of Modern Arts, and Platform Garanti Contemporary Art Center, which have given her the opportunity to develop insight into modern and contemporary art in Turkey. She is currently working at UIC’s contemporary art gallery, Gallery 400, as the curatorial graduate assistant, and is teaching a summer undergraduate course entitled “Introduction to Curating Contemporary Art.”  Üner Yilmaz is a former recipient of Fulbright and TUBİTAK scholarships for graduate education and TEV (Turkish Education Foundation) scholarship for undergraduate education.