2018 Curatorial Forum | EXPO Chicago

2018 Curatorial Forum Participants

Curatorial Forum | EXPO CHICAGO
September 26–29, 2018

Closed-Door Sessions
Graham Foundation
Chicago, IL

Developed by EXPO CHICAGO and ICI, the 2018 Curatorial Forum offered a group of mid-career and established curators, working independently or with an institutional affiliation, the opportunity to engage with their peers and explore significant issues relating to curating, programming, institution-building and audience engagement.

The 2018 Curatorial Forum opened with a keynote presentation by Jochen Volz, Director of the Pinacoteca de São Paulo and recipient of ICI’s 2017 Agnes Gund Curatorial Award, for Forum participants, Chicago professionals and other visiting curators, and featured a series of peer-led, closed-door sessions focused on critical questions relevant to contemporary practice and context. The session topics included “Accessibility,” “Beyond Exhibition-Making,” “Critical Regionalism,” “Labor Conditions,” and “Race, Representation, Social Justice.”

The 2018 Forum concluded with an Assembly hosted by Yesomi Umolo at the Reva and David Logan Center for the Arts bringing all participants together to further invest in the knowledge exchanged during the program and to foster regional professional networks and collaborations across the American cultural landscape.

Keynote Speaker:
Jochen Volz | Director of the Pinacoteca de São Paulo | São Paulo, Brazil

Session leaders include:
Dean Daderko | Accessibility | Curator of Contemporary Arts Museum Houston | Houston, TX
Ryan N. Dennis | Beyond Exhibition Making | Programs Director of Project Row Houses Curator | Houston, TX
Candice Hopkins | Race, Representation, Social Justice | Co-curator of SITE Santa Fe Biennial | Santa Fe, NM
Katie A. Pfohl | Critical Regionalism | Curator of Modern and Contemporary Art, New Orleans Museum of Art | New Orleans, LA
Amy Sadao Daniel W. Dietrich II Labor Conditions | Director of ICA Philadelphia | Philadelphia, PA

Participants of this convening included: Brandon Alvendia, Independent, alt spaces artLedge; Michael J. Anderson, Director of Curatorial Affairs, Oklahoma City Museum of Art; Mara Baldwin, Director of Handwerker Gallery; Andrea Barnwell, Director of Spelman College of Fine Art; Joseph Becker, Associate Curator of Architecture, SFMOMA; Jennifer Carty, Curator of Modern and Contemporary Art, The Smart Museum; Rachel Cook, Artistic Director of On the Boards; Eric Crosby, Curator, Carnegie Museum of Art Pittsburg; Dean Daderko, Curator, CAM Houston; Alexandria Eregbu, Independent Curator; Sally Frater, Independent Curator; Amy Galpin, Chief Curator, Frost Museum; Elizabeth Gessel, Public Programs Director, Museum of the African Diaspora; Marcela Guerrero, Assistant Curator, Whitney Museum of American Art; Tess Haratonik, SAIC; Andria Hickey, Senior Curator, MOCA Cleveland; Candice Hopkins, Co-curator , SITE Santa Fe Biennial; Mia Lopez, Assistant Curator, De Paul Museum; Susan Lee Mackey, SAIC; Lucy Mensah, Visiting Professor, Museum and Exhibition Studies at the University of Illinois in Chicago’s School of Art & Art History; Lynnette Miranda, Program Manager, United States Artists; Srimoyee Mitra, Director of Stamps Gallery; Sofía Gallisa Muriente, Co-Director, Beta-Local; Kim Nguyen, Curator and Head of Programs, CCA Wattis; Karen Patterson, Senior Curator, John Michael Kohler Arts Center; Katie Pfohl, Curator of Modern and Contemporary Art, New Orleans Museum of Art; Heather Pontonio, Art Program Director, Tremaine Foundation; Arnaldo Rodríguez-Bagué, Co-chair, Manager/Curator, MATORRAL online curatorial platform; Ben Russell, The Storefront/art-publishing house Silver Galleon Press; Amy Sadao, Daniel W. Dietrich II Director, ICA Philadelphia; Kaela Saenz Oriti, Museum Education Director, Phoenix Art Museum; Frank Smigiel, Director of Arts Programming & Partnerships, Fort Mason; Ana Torok, Assistant Curator of Prints and Drawings, MoMA; Jochen Volz, General Director, Pinacoteca de São Paulo, Brazil; Joey Yates, Curator, KMAC Museum



The 2018 Curatorial Forum was made possible, in part, by Art Design Chicago, an initiative of the Terra Foundation for American Art; Sotheby’s; Terry Dowd Inc.; and Willis Towers Watson.

September 26, 2018 - September 29, 2018

Graham Foundation
4 West Burton Place
Chicago, IL 60610


Jochen Volz

Jochen Volz is the General Director of Pinacoteca de São Paulo and the curator of the Brazilian Pavilion at the 57th Biennale di Venezia (2017). He was the chief curator of the 32nd Bienal de São Paulo (2016). Between 2012 and 2015 he was Head of Programmes at the Serpentine Galleries in London. Prior, he was a curator at the Instituto Inhotim, Minas Gerais, since 2004, where he has served as General Director between 2005 and 2007 and Artistic Director between 2007 and 2012. Furthermore, he has contributed to many exhibitions throughout the world, including Terra Comunal – Marina Abramović in sesc Pompeia, São Paulo (2015), Planos de fuga, Centro Cultural Banco do Brasil, São Paulo (2012), Olafur Eliasson – Your Body of Work as part of the 17th International Festival of Contemporary Art – sesc Videobrasil in the Pinacoteca do Estado de São Paulo, in sesc Pompeia and sesc Belenzinho, São Paulo (2011), The Spiral and the Square at Bonniers Konsthall, Stockholm, at Gråmølna Kunstmuseum, Trondheim, and at Sørlandets Kunstmuseum, Kristiansand (2011), the 1st Aichi Triennale in Nagoya (2010) and the presentation of Cinthia Marcelle at the Biennale de Lyon (2007). In 2009, he organized Fare Mondi / Making Worlds, the international section of the 53rd International Venice Biennale together with Daniel Birnbaum. In 2006, he guest curated for the 27th São Paulo Biennial a special exhibition project in homage to Marcel Broodthaers with Juan Araujo, Mabe Bethônico, Marcel Broodthaers, Marilá Dardot, Tacita Dean, Meschac Gaba, Goshka Macuga, Rirkrit Tiravanija, Haegue Yang. Between 2001 and 2004, he was curator of Portikus Frankfurt am Main, where he organized individual exhibitions with Cildo Meireles, Dominique Gonzalez-Foerster, Gilbert & George, Janet Cardiff, Jason Rhoades, Pascale Marthine Tayou, Philippe Parreno, Renée Green, Rirkrit Tiravanija, Rivane Neuenschwander and Simon Starling, amongst others. As a critic he is writing for magazines and catalogues and is contributing editor to Frieze.

Dean Daderko

Dean Daderko is the Curator at the Contemporary Arts Museum Houston (CAMH). His most recent shows include Telepathic Improvisation, a multi-partnered project that marks the first US solo exhibition for the collaborative duo Pauline Boudry / Renate Lorenz, which he co-curated at CAMH with Alhena Katsof; Atlas, Plural, Monumental, a 25-year survey of sculpture, video and photography, drawing, and interactive artwork by the inimitable Paul Ramírez Jonas; A Traveling Show, in which individual artworks and the display of a decade-old visual correspondence project between Matt Keegan and Kay Rosen spoke to a long-standing friendship and shared interests in humor and language; and THE INTERVIEW: Red, Red Future – a solo exhibition of commissioned works by the artist MPA that traveled to the Whitney Museum of American Art – in which a live performance and sculptures became vehicles through which to imagine the future of the red planet and notions of colonization. Daderko has commissioned artworks with Claire Fontaine, LaToya Ruby Frazier, Klara Lidén, Fred Moten and Wu Tsang, and Haegue Yang, among others. His writing has appeared in Mousse and publications by the Studio Museum in Harlem, the Pérez Art Museum Miami, and the University of California, Irvine. He is currently preparing an exhibition of the idiosyncratic embroidered paintings of Nicholas Moufarrege (1947-1985) that will debut at CAMH in 2018.

Candice Hopkins

Candice Hopkins is a curator and writer of Tlingit descent originally from Whitehorse, Yukon. She is Senior Curator of the Toronto Biennial of Art and co-curator of the 2018 SITE Santa Fe biennial, Casa Tomada. She was a part of the curatorial team for documenta 14 in Athens, Greece and Kassel, Germany and a co-curator of the major exhibitions Sakahàn: International Indigenous Art, Close Encounters: The Next 500 Years, and the 2014 SITElines biennial, Unsettled Landscapes in Santa Fe, New Mexico. Her writing is published widely and her recent essays and presentations include “Outlawed Social Life” for South as a State of Mind and Sounding the Margins: A Choir of Minor Voices at Small Projects, Tromsø, Norway. She has lectures internationally including at the Witte de With, Tate Modern, Dak’Art Biennale, Artists Space, Tate Britain and the University of British Columbia. She is the recipient of numerous awards including the Hnatyshyn Foundation Award for Curatorial Excellence in Contemporary Art and the 2016 the Prix pour un essai critique sur l’art contemporain by the Foundation Prince Pierre de Monaco. She is a citizen of Carcross/Tagish First Nation.

Amy Sadao

Appointed Director in September 2012, Amy Sadao has forged connections with institutions across the city, dramatically increased ICA’s budget and staffing, and directed an ambitious contemporary program extending equity to overlooked and underrepresented artists, ideas, and publics. Before assuming the directorship of ICA, Sadao served for ten years as Executive Director of Visual AIDS in New York City where she expanded the organization’s resources and public awareness of its mission utilizing contemporary art to provoke dialogue about HIV/AIDS and supporting HIV-positive artists. Sadao has been notably honored for her work by ArtTable’s 2014 New Leadership Award; Christine Quinn, Speaker of the New York City Council, as a Women in the Arts Leader; and knighted by the Imperial Court of New York, the city’s oldest drag house, for her work as an AIDS and art activist. She serves on the board of directors of Denniston Hill, an artist residency program, the Pennsylvania Humanities Council, and is a Director Emeritus of Visual AIDS. Sadao began her career as a curatorial intern at the Whitney Museum of American Art, Phillip Morris Branch. She holds an MA in comparative ethnic studies from the University of California, Berkeley and a BFA from the Cooper Union School of Art.

Katie Pfohl

Katie Pfohl has served as the Curator of Modern and Contemporary Art at the New Orleans Museum of Art since June 2015. She completed her Ph.D. in American Art at Harvard University in 2014 and has a wide range of curatorial experience including positions at the Philadelphia Museum of Art, the Metropolitan Museum of Art, and the Museum of Fine Arts, Boston. In 2006, she completed the Whitney Independent Study Program in New York. Projects at NOMA include a solo presentation for the Puerto Rican artist Carlos Rolón entitled Carlos Rolón: Outside/In, which explores the rich cultural and artistic connections between New Orleans, Latin America and the Caribbean, and Changing Course: Reflections on New Orleans Histories, which brings together seven contemporary artists to reflect on forgotten or marginalized histories of New Orleans.

Ryan N. Dennis

Ryan N. Dennis is the Chief Curator and Artistic Director of the Center for Art & Public Exchange (CAPE) at the Mississippi Museum of Art. Dennis joined Project Row Houses in Houston as the Public Art Director in October 2012. Her interests include African American and international contemporary art, with a particular focus on socially engaged practices in all media, site-specific projects, and public interventions. At Project Row Houses, Ryan has organized exhibitions and programs including, Round 41: Process and Action: An Exploration of Ideas (2014); Round 40: Monuments: Right Beyond the Site (2014); Social Practice. Social Justice Symposium (2014); Round 39: Looking Back, Moving Forward (2013). She has written for the 2014 Prospect 3 catalogue and the Studio Museum in Harlem Magazine. Prior to Project Row Houses she worked in New York City at the Museum for African Art as the traveling exhibition manager, working on exhibitions which included but not limited to El Anatsui: When I Last Wrote to You about Africa, Dynasty and Divinity: Ife Art in Ancient Nigeria, and Jane Alexander: Surveys (from the Cape of Good Hope). She received her master’s degree in Arts and Cultural Management from Pratt Institute where her research focused on the role of the artist as the administrator and cultural producer through residencies, and collaborative programming. Prior to moving to New York City, Ryan worked as a community organizer and a curatorial assistant at The Menil Collection in Houston, TX.

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