Category Archives: Curators

George H. Waterman III

George H. Waterman  III.  Waterman graduated from Harvard College where he studied Art History. He was on the first board of directors of the Dia Art Foundation. He has been a member of the Harvard Overseers Committee to Visit the Art Museums, the Collection Committee of the Whitney Museum of American Art, and the Library Committee of The Museum of Modern Art. He has been a trustee of the Archives of American Art and the Rhode Island School of Design. For most of the last 40 years, he has been and continues to be a member of the Museum Committee of the Rhode Island School of Design. He is currently the director of the Visual Art Library.

Bill Arning

Bill Arning is the director of the Contemporary Arts Museum Houston. After arriving in Texas in 2009, Arning organized solo exhibitions of Marc Swanson, Melanie Smith, Matthew Day Jackson, and the late Stan VanDerBeek. Jackson and VanDerBeek were jointly organized with the MIT List Visual Arts Center where Arning was curator from 2000-2009.

At MIT he organized shows of AA Bronson, Cerith Wyn Evans, and a retrospective of the work of Kate Ericson and Mel Ziegler. From 1985 to 1996, Arning was director of White Columns in New York City where he organized groundbreaking first solo shows for many of the best known artists of his generation including John Currin, Marilyn Minter, Andres Serrano, Richard Phillips, Cady Noland, and Jim Hodges, among many others.  In 1993, Arning organized the first exhibition about gender and sexuality in South America, Maricas at the Center Cultural Ricardo Rojas at the University of Buenos Aires. He has written about the work of Keith Haring and organized, Powerful Babies-the Impact of Keith Haring on Art Today, at the Spritsmuseum, Stockholm.  

Arning co-organzied with curator Elissa Auther and the Museum of Contemporary Art Denver a survey exhibition Marilyn Minter: Pretty/Dirty. In 2016 he curated the first large-scale museum exhibition of Mark Flood, entitled Gratest Hits in 2016.  Arning has written on art for journals such as Artforum, Art in America, Out, and Parkett, and multitudes of international museum publications, including texts for retrospectives of Jim Hodges, Keith Haring, Christian Jankowski, and Donald Moffett as well as other writing for books by Elmgreen and Dragset and Lawrence Rinder. He also contributed an essay on the art market and AIDS for ArtAIDSAmerica organized by the Tacoma Art Museum. Arning’s next project is a career survey of the painter Mary Weatherford, which will be presented in 2019.

Installation view of Angel Otero: Everything and Nothing at Contemporary Arts Museum Houston, 2016. Courtesy of the artist, Kavi Gupta Gallery, Chicago, and Lehmann Maupin, New York. Photo: Tom Dubrock

Installation view of Mark Flood: Greatest Hits at Contemporary Arts Museum Houston, 2016. Courtesy the artist, Peres Projects, Berlin, and Stuart Shave/Modern Art, London. Photo: Max Fields.

Rocío Aranda-Alvarado

Rocío Aranda-Alvarado

Rocío Aranda-Alvarado was born in Santiago de Chile. She received her Ph.D. in Art History from the City University of New York Graduate Center.  Her dissertation was a study of modernist movements in Harlem and Havana between 1925 and 1945.  She is currently Senior Curator at El Museo del Barrio in New York City, where she is working on A Brief History of (Some) Things, an exhibition exploring the persistence of Mesoamerican and Indigenous Caribbean imagery in contemporary art. She recently organized Presente! The Young Lords in New York, and Antonio Lopez: Future Funk Fashion, both of which were nominated among the best exhibitions for 2015 and 2016 by numerous publications. Ms. Aranda-Alvarado is currently working on the museum’s upcoming La Bienal 2018 El Museo’s biennial of emerging artists.

Ms. Aranda-Alvarado is currently on the faculty of the Art and Art History Department at The City College of New York, where she is teaching a course on Contemporary U.S. Latinx Art and has taught courses in Modern and Contemporary Latin American art. Ms. Aranda-Alvarado has been invited to speak at the Smithsonian Institution, the Whitney Museum of American Art’s Initial Public Offerings program, the Americas Society and at various colleges and universities both here and abroad. Her writing has appeared in several publications including catalogue essays for the Museum of Modern Art, the Center for Advanced Study in the Visual Arts (National Gallery of Art, Washington DC), and El Museo del Barrio, Nka: Journal of Contemporary African Art, Art Nexus, Review, the journal of the Americas Society, NYFA Quarterly, BOMB and American Art.

Also discussed during the interview was the Beatriz Santiago Munoz exhibition.

Exhibition at El Museo del Barrio Presente! The Young Lords in New York July 2015 Works from El Museo’s permanent collection

Exhibition at El Museo del Barrio Antonio Lopez: Future Funk Fashion August 2016

Barbara Clausen

Barbara Clausen is an independent curator and professor for performance theory and history at the art history department of the Université du Québec in Montreal. Since 2000 she has written extensively on the documentation of performance art (After the Act: The (Re)presentation of Performance Art, 2006) and performative curatorial practices and has curated numerous exhibitions and performance series in Europe as well as North America, including the series After the Act, Again and Against and Push and Pull (2005-2011) at the Museum of Modern art (MUMOK) in Vienna and TATE Modern in London.

In 2013 she curated the first retrospective of Babette Mangolte at VOX, Centre d’image contemporaine, and in 2014, the exhibition and performance series STAGE SET STAGE: On Identity and Institutionalism at SBC Gallery for contemporary art. Since 2014 she is the director of the long term University research project An Annotated Bibliography : performance art in Quebec and Canada presented as a research exhibition at ARTEXTE in Montreal in 2015. In 2016 she curated the first major exhibition of Joan Jonas’ work in Canada at DHC/ Art in Montreal.

Joan Jonas, They Come to Us without a Word, 2015. Video still, courtesy of the artist.

Bill Kelley, Jr.

Bill Kelley, Jr. is an educator, curator and writer based in Los Angeles. He holds a Ph.D. in Art History, Theory and Criticism from the University of California at San Diego (UCSD) and a Masters in Colonial Art Studies from the University of New Mexico, Albuquerque (UNM).  His current research focuses on collaborative and collective art practices in the Americas. Bill has written for such journals as Afterall, P.E.A.R., and Log Journal. He served as co-curator of the 2011 Encuentro Internacional de Medellín (MDE11) and was the former Director and Co-Editor of the online bilingual journal LatinArt.com. He currently holds the position of Assistant Professor of Latin American and Latino art history at California State University Bakersfield. Bill has co-edited an anthology with Grant Kester of collaborative art practices in the Americas entitled: Collective Situations: Readings in Contemporary Latin American Art 1995-2010 (Duke University Press, forthcoming). He is currently Lead Researcher and Curator of Talking to Action, for Otis College of Art as part of The Getty’s Pacific Standard Time: LA/LA initiative.

Tela sobre Santo Domingo: BijaRi, Contando con Nosotros, MDE11: Encuentro Internacional de Medellín (2011)

The Artists Group, Bulbo, 2008 (Video still from the music video El Corrido del Ciudadano by Herencia Norteña)

Ruth Beale

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Production shot from Their Constructive Materials/Layers, 2016. Courtesy Performance as Publishing

Ruth Beale‘s practice considers the evocative relationships between culture, governance, social discourse and representation. A form of socialised questioning, it includes performance, writing, collecting, drawing and socially-engaged processes. She works on both long-term projects involving extensive archive research, and more spontaneous performances which co-opt audiences, collaborators and participants. 

Her collaboration with Amy Feneck, ‘The Alternative School of Economics‘, uses the practice of self-education to study economics, creating a framework for investigating political, social and cultural issues. They recently completed a major commission with Create London, working with communities in Newham, East London, where they set up Rabbits Road Institute, a new space for community, educational and creative activity.

Ruth is also co-founder of Performance as Publishing with Nicole Bachmann, an active research project into text and writing for performance. 

In 2016 they presented Take One / Take Two / Take Three at Eastside Projects, Birmingham (UK), in partnership with Lux Artists’ Moving Image and this is tomorrow. 

Ruth gained a BA from Edinburgh College of Art and an MFA from Goldsmiths, London, in 2010. Solo exhibitions include The Library of Future Societies as part of Fig.2 at ICA, London (2015), Bookbed at Peckham Platform, London (2014), Bikes, Caves, Raves at Trade, Nottingham (2014), and Lindgren & Langlois: The Archive Paradox at Grand Union, Birmingham (2013). She has performed and exhibited at Whitechapel Gallery, ICA, Turner Contemporary, Basel Kunsthalle, MoMA Ps1, South London Gallery and Modern Art Oxford.

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Ruth Beale, The Library of Future Societies, 2015, utopian and dystopian novels borrowed from London public libraries, Photo: Sylvain Deleu

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Ruth Beale, Their Constructive Materials/Layers, 2016, livestreamed digital video, 19 minutes

Ele Carpenter

ele-carpenter-photoEle Carpenter is a curator. Her Nuclear Culture curatorial research project is a partnership between Arts Catalyst and Goldsmiths University of London, where she is Senior Lecturer in MFA Curating and convenor of the Nuclear Culture Research Group. The Nuclear Culture project involves field trips, commissioning new work and curating film screenings, roundtable discussions and exhibitions including: Perpetual Uncertainty Bildmuseet, Sweden (2016-17); Material Nuclear Culture KARST Gallery, Plymouth (2016); Actinium, S-Air, Sapporo (2014). Carpenter is editor of The Nuclear Culture Source Book published by Black Dog Publishing in partnership with Bildmuseet and Arts Catalyst (2016). 

Currently reading: Being Nuclear: Africans and the Global Uranium Trade, Gabrielle Hecht (MIT); and Plutopia: Nuclear Families, Atomic Cities and the Great Soviet and American Plutonium Disasters (OUP).

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Isao Hashimoto, 1945-1998, Animation, (film still), 2003.

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Rountable discussion in the Material Nuclear Culture exhibition, KARST Gallery, Plymouth, UK, June 2016. Artists: Nick Crowe & Ian Rawlinson, Erika Kobayashi, David Mabb, Jon Thomson & Alison Craighead, Kota Takeuchi. Curated by Ele Carpenter.

Markus Mueller

Clients of BUREAU MUELLER include the Museum fur Moderne Kunst (MMK), Frankfurt, the Josef Albers Museum Quadrat Bottrop, the internet magazine Contemporary And (C&), the ars viva – price of the Kulturkreis der deutschen Wirtschaft im BDI e.V. (Association of Arts and Culture of the German Economy at the Federation of German Industries) , RAY Photographie Projekte, Frankfurt, Haus der Kunst, MOnchen, the Deutsche Sparkassen- und Giroverband (German Association of Saving Banks), Kunsthalle Wien, and the German Pavillon at the 5ih International Art Exhibition – Venice Biennale 2017, and Haus Modrath – Rliume fur Kunst.

Mueller has been part of the team of the Artistic Director Okwui Enwezor at the 561 International Art Exhibition Venice Biannale. Former clients include the German Pavilion at the 55th Venice Biennial in 2013 (Ai, Karmakar, Mofukeng, Singh), the German Pavilion at the 541h Venice Biennial in 2011 (Christoph Schlingensief , Golden Lion), The Museum of Modern Art, New York , the National Art Museum of Ukraine (Kiev), the Julia

Stoschek Collection, DOsseldorf, the Prince Claus Fund, Amsterdam, the Villa Romana, Florence, Meeting Points 6 (Beirut, Brussels, Berlin), the About Change, Collection, Berlin, the Galerie fur zeitgenossische Kunst, Leipzig, La Triennale 2012 (Paris), Documenta (13), the Gwangju Biennale Foundation, South-Korea, The Walther Collection, New York , Neu-Ulm/Burlafingen, and Jarla Partilager, Stockholm, Berlin.

Before founding BUREAU MUELLER in 2007 MOiier was the Deputy Director and Head of Communication of KW Institute for Contemporary Art, Berlin. MOiier has been Director of Communications for Documenta11, Kassel, Germany and was responsible for organizing the first four platforms of Documenta11 in Vienna, New Delhi, Berlin, St. Lucia and Lagos (1999 – 2002) . He was also responsible for the overall communicative strategy , the development of the corporate design, and the internet presence of Documenta11. He has worked as Director of Communications for the 3’d and 4th Berlin Biennial (2004 and 2006) as well as Sculpture. Projects in Munster 1997, and the German Pavilion at the Venice Biennale 1993 (Hans Haacke and Nam Jun Paik). From 1995 till 2002 he was Head of Communication and Curator for Contemporary Art at the Westflilische Landesmuseum in Munster.

Markus MOiier has curated a small number of exhibitions, among others ECM A Cultural Archeology (together with Okwui Enwezor) , Haus der Kunst, Munich 2012/2013, Throbbing Gristle, TG@KW Annual Industrial Report, KW Institute for Contemporary Art, 2005, General Idea, General Ideas Editions , 1967 – 1995, KW, 2006, Psychotopes (with Bill Burns, Robyn Collier, Germanine Koh, Benny Nemerowsky Ramsay, Scott Lyall a.o.), YYZ, Toronto, 2003, Gordon Matta-Clark, Food, Westfalisches Landesmuseum Munster, Germany, 1999, Heimo Zobernig, The Catalogue, Westfalisches Landesmuseum Monster, Germany, 1998, Platos Cave, the museum and electronic media, Karl Ernst Osthaus-Museum Hagen, 1994, and as part of the non-for-profit branch of BUREAU MUELLER, solo exhibitions with Fischli/Weiss, Heimo Zobernig, Agnes Martin, Stan Douglas, Jenny Holzer, Peter Roehr, Gunter Fruhtrunk, Michaela Meise, Birgit Hein, Terre Thaemlitz , William Eggleston, Perlon Records, Bettina Allamoda, Albert Oehlen, Ursula Boeckler, and Thomas Scheibitz (2007-2017) .

He has recently co-curated I got Rhythm, Jazz and the Visual Arts at the Kunstmuseum Stuttgart running till March 2016 and is working on Improvise NOW!!! a series of concerts , performances, lectures, symposia and an exhibition at Haus der Kunst that run from April 2016 to August 2017 . Mueller is working on Free Music Production (FMP): The Living Music which will take place at Haus der Kunst and Akademie der KOnste in 2017/2018 .

He has published extensively on music and contemporary art, for example interviews with (among others) Mike Kelley, Dan Graham, Renee Green, Christian Marclay, Martin Creed, Greil Marcus, Alex Katz, Jutta Koether, Douglas Gordon, Tobias Rehberger in Make it Funky, Strategies between Avantgarde and Pop in Visual Arts and Music, Cologne, 1999, and interviews (among others) with Kim Gordon, Thurston Moore, Glenn Branca, Tony Oursler , Jeff Wall and Dan Graham in Dan Graham Works 1965 2000, DOsseldorf, 2002. From 1999 – 2012 he was a regular contributor to Texte zur Kunst, Bertin.

Since 2003 he is a lecturer at the postgraduate Institute for Art in Context at the Universitat der KOnste, Berlin.

This is info on the exhibition of the record label FMP.

These are the books that were mentioned in the interview; Cixin Liu: Death’s End and John Corbett: Microgroove

Marco Antonini

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photo by: Daniele Bianchi

Marco Antonini is an independent writer and curator. From 2011 to 2016, he served as NURTUREart’s Executive Director & Curator, presenting new work by Ian Pedigo, Ivan Argote, Jonathan Ehrenberg, Meredith James, Arianna Carossa, Daniel Bejar, Nathalie Hausler, Alina Tenser, Gabriela Salazar, Deville Cohen, Lior Modan, and Steffani Jemison, among many others. Antonini’s ambitious, inter-generational group exhibitions We Are: (2011), …Is This Free? (2012), Welcome to the Real (2013), We Are: at The Luminary (Saint Louis, MO, 2013) and Multiplicity: City as Subject Matter (2014) further pushed the envelope of what was possible at NURTUREart, connecting established and emerging artists, experimenting with off-site programming and developing books and publications that helped NURTUREart reach out to an increasingly international audience.

His independent curatorial projects have been presented in New York by Japan Society, the Lower Manhattan Cultural Council (LMCC), ISE Foundation, Elizabeth Foundation Project Space, the Italian Cultural Institute, the International Studio and Curatorial Program (ISCP), Interstate Projects, and Abrons Art Center; Internationally by Bevilacqua La Masa Foundation, Venice, FUTURA Center for Contemporary Art, Prague, CCEG, Guatemala City, Random Institute, Zurich  among many others. As an independent curator and writer, Antonini has consistently championed the early work of artists who have moved on to greater and much deserved visibility and renown.

Antonini’s articles, essays, interviews, short stories and poetry have been published worldwide on magazines, journals, catalogs and other exhibition-related publications. His two most recent books projects are Golden Age: Perspectives on Abstract Painting Today (NURTUREart 2015), co-edited with Christopher K.Ho and collecting essays and interviews dedicated to the return of abstraction in contemporary painting, and Experimental Photography (SHS/Vetro/Thames and Hudson/Prestel, 2015) a book of interviews and texts dedicated to experimental photographic practice.

See an archive of past and current work here.

Premiere of Kim Hoeckele's theatrical piece Rosy-Crimson. Courtesy, NURTUREart.

Premiere of Kim Hoeckele’s theatrical piece Rosy-Crimson. Courtesy, NURTUREart.

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Exhibition view of Steffani Jemison’s solo exhibition Prime. Courtesy, NURTUREart.

Beti Žerovc

16210_309083115873617_1059417556_nBeti Žerovc is a Slovene art historian and art theorist. She teaches on Slovene art from 1800 until today at the Faculty of Arts/University of Ljubljana.

Her areas of research are visual art and the art system since the mid-nineteenth century, with a focus on their role in society. In the past ten years her research has concentrated mainly on the phenomena of the contemporary art curator as a profession in the process of establishing itself and the contemporary art exhibition as a medium.

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Žerovc conceptualized and organized various scientific meetings, among other: Exhibition as the Artistic Medium, Curator of Contemporary Art as the Artist. The Changing Statuses of the Exhibition and the Curator in the Field of Contemporary Art (Igor Zabel Association, 2010), The Event as a Privileged Medium in the Contemporary Art World (International Centre of Graphic Arts, Ljubljana, 2011). In 2011 she curated the 29th Biennial of Graphic Arts in Ljubljana, titled The Event.

Žerovc is the author of numerous articles, as well as several books, among other: The Curator and Contemporary Art: Conversations (Maska, 2008; in Slovene), and Curatorial Art: The Role of the Curator in Contemporary Art (Znanstvena založba Filozofske fakultete, 2010; in Slovene). In 2012 Žerovc edited The Event as a Privileged Medium in the Contemporary Art World (Maska, for the electronic English version use this link.

For further reading, read the following online; The Curator and the Leftist Politicisation of Contemporary Art as well as the beginning of the book by Žerovc,  When Attitudes Become the Norm The Contemporary Curator and Institutional Art.

Andrea Scrima

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Photo: Alyssa DeLuccia

Andrea Scrima was born in New York City and studied fine arts at the School of Visual Arts in New York and the Hochschule der Künste, Berlin, Germany, where she lives and works as a writer and translator. Scrima’s first book, A Lesser Day, was published in 2010 by Spuyten Duyvil Press, Brooklyn, New York; a German edition will be published by Droschl Verlag in 2018. Excerpts from an ongoing blog titled all about love, nearly are included in Wreckage of Reason II (Spuyten Duyvil, 2014) and the forthcoming anthology Strange Attractors (edited by Edie Meidav). Scrima is currently completing a second novel, titled Like Lips, Like Skins. An earlier version of this novel was awarded Second Prize in the Glimmer Train Fall 2010 Fiction Open.

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Scrima was the recipient of a literature fellowship from the Berlin Council on Science, Research, and the Arts in Berlin, Germany (Senatsverwaltung für Wissenschaft, Forschung und Kultur, 2004) and won a 2007 National Hackney Literary Award for Sisters, a short story from an ongoing collection. In the spring of 2011 she took part in a writing fellowship at the Ledig House / Art Omi residency program in Ghent, New York. Her literary criticism appears regularly in The Brooklyn Rail, Music & Literature, and The Quarterly Conversation (recent essays on: Lydia Davis, The Collected Stories; László Krasznahorkai, Seiobo There Below; Robert Walser, The Walk). She has been senior editor of the online arts journal Hyperion: On the Future of Aesthetics.

Prior to her decision to focus on literature, Scrima worked as a professional artist for many years, incorporating short fiction pieces into large-scale text installations. She has received numerous awards for her artistic work, including a grant from the Pollock-Krasner Foundation (1989/1990) and the Lingen Art Prize (Kunstverein Lingen, Germany; 1996) and has been represented in exhibitions at Franklin Furnace in New York, the Contemporary Art Center in Moscow, Kunst Haus in Dresden, the Museum für Neue Kunst in Freiburg, the Neuer Berliner Kunstverein, and many other institutions and commercial galleries internationally.

An excerpt from A Lesser Day can be read on Scrima’s website, and an in-depth interview on the book was featured in The Brooklyn Rail.  The excerpt below, taken from Scrima’s new novel, Like Lips, Like Skins, is a description of the artistic process and ties in to the interview. Scrima is currently reading Ann Quin’s Passages; Nathalie Sarraute’s Childhood; and Violette Leduc’s La Batarde.

Making art was a form of archaeology, of excavating the inscrutable. It revealed itself through fragments, through their reconstruction. Why this dot, this smear—why did they resonate in such an unmistakable way? It was essential to recognize these events, to understand the patterns of their repetition and to narrow them down to a visual vocabulary. These were the elements at our disposal, there were never more than a handful of them, and they remained irreducible. Process was everything: there had to be a truthfulness to it, a conjunction between the act and the impulse that had propelled it, an economy in which every mark stood for something—not as a means to an end, but at the very moment it was being made. It required a suspension of conscious will; it was about locating one’s inner sensorium and learning to pay attention to it, to trust it. It was the point of convergence between the self and the world: the place where, if only for an instant, a universal language might be revealed. I stepped back to view the large canvas. Subtle shadows were visible across the white expanse now, caused by the topography of the scraped surface beneath it. Swirls of pigment had come to rest in the turpentine on the floor, and as I bent down to spread a few sheets of newspaper over the turbid puddle, my reflection bent down with me and reached its fingertips up toward my outstretched hand. 

Anne-Marie Oliver / Barry Sanders

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Anne-Marie Oliver & Barry Sanders

Anne-Marie Oliver is a cultural theorist, photographer, and documentarian, whose projects occur at the intersection of art, religion, politics, and technology. Her work can be found in Critical Inquiry, Partisan Review, The International Journal of Comparative Sociology, and Public Culture, the Bulletin of the Center for Transnational Cultural Studies, the University Museum, the University of Pennsylvania, as well as Salon, The New Republic, and Le Monde diplomatique. She spent many years doing fieldwork and research in the Middle East, collecting and documenting the art, political ephemera, and underground media of the first intifada—work supported by the H.F. Guggenheim Foundation and, later, Harvard’s Center for Middle Eastern Studies. The result of that research was published by Oxford University Press in 2004 as The Road to Martyrs’ Square (with Paul F. Steinberg), and was a Quill Award nominee. She has given lectures at Columbia, Princeton, Stanford, the Carnegie Council for Ethics in International Affairs, the Muriel Gardiner Seminar on Psychoanalysis and the Humanities at Yale, Tufts, USC, and Harvard; and has appeared as a discussant on CNN, National Public Radio, the BBC, MSNBC, Air America, and Fresh Air with Terry Gross. Her current projects address the role of art and aesthetics in the 21st century, particularly in relation to invisible catastrophe; surveillance, proto-surveillance, and the experience of time; and notions of the intervention. She has carried out various art projects, individual and collective, at the Portland Institute for Contemporary Art’s TBA Festival, PDX Contemporary Art, and galleryHOMELAND, among others, and, in 2011, closed out the Visiting Artist Lecture Series at the Mason Gross School of Art at Rutgers. In 2013, she curated the show Infinity Device with Barry Sanders at the Historic Maddox Building in Portland, Oregon. She has taught at MIT, Georgia Tech, and the Hebrew University of Jerusalem, and has served as a guest critic at CalArts, the Tisch School of the Arts, NYU, and the University of the Arts London, among others. Along with Barry Sanders, she founded the MA in Critical Theory and Creative Research Program at the Hallie Ford School of Graduate Studies, Pacific Northwest College of Art, and now directs the Oregon Institute for Creative Research/E4 (Ethics, Æsthetics, Ecology, Education), a new school and research institute.

Barry Sanders’ projects occur increasingly at the intersection of art and activism, and include The Green Zone: The Environmental Costs of Militarism, which Project Censored named one of the top-ten censored stories of 2009, and “Over These Prison Walls,” which invites collaborations between artists and incarcerated youth. He has twice been nominated for the Pulitzer Prize and is the author of fourteen books and over fifty essays and articles, including Sudden Glory: A Brief History of Laughter, Alienable Rights: The Exclusion of African-Americans in a White-Man’s Land, 1619-2000 (with Francis Adams), ABC: The Alphabetization of the Popular Mind (with Ivan Illich), The Private Death of Public Discourse, and A Is for Ox: The Collapse of Literacy and the Rise of Violence in an Electronic Age. His book-art projects include a collaboration with printmaker Michael Woodcock, Fourteen Ninety Two or Three, which won Honorable Mention in the Carl Hertzog Awards Competition for Excellence in Book Design, while his 2002 essay for Cabinet, “Bang the Keys Softly: Type-Writers and Their Dis-Contents,” has been reprinted in Courier (University Art Museum, SUNY) as well as Ghost in the Machine (New Museum). He has given presentations at the Los Angeles County Museum of Art (with Ivan Illich); the J. Paul Getty Museum; and the Portland Art Museum, among many others, and in 2013, curated the show Infinity Device with Anne-Marie Oliver at the Historic Maddox Building in Portland, Oregon. He was the first to occupy the Gold Chair at Pitzer College, where he taught, among other things, the history of ideas and medieval church iconography. Along with Anne-Marie Oliver, he founded the MA in Critical Theory and Creative Research Program at the Hallie Ford School of Graduate Studies, Pacific Northwest College of Art, and now directs the Oregon Institute for Creative Research/E4 (Ethics, Æsthetics, Ecology, Education), a new school and research institute.

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Atta Kim, Caldera

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CT+CR Collective 2016, 4755.8 (Casting Our Glances across These Shores towards Fukushima-Daiichi on the 5th Anniversary of the Pacific Disaster)

Lynne van Rhijn

koppieAs Curator Modern and Contemporary Art at the RKD – Netherlands Institute for Art History Lynne van Rhijn works on documentation of Dutch art since the 1960s in its international context.

The RKD is the central resource for the study of Dutch and Flemish art. As an outward-looking academic documentation and knowledge institute, it works in close collaboration with others to reach its audience all over the world. Located in The Hague (The Netherlands), it manages a unique collection of archival, documentation and library material relating to Western art from the late Middle Ages to the present. Parts of the collection are also accessible through online databases

Lynne van Rhijn  has also written about contemporary art / edited for several art magazines. Her review ´Why I started polishing my shoes´, about Nishiko, Nasan Tur and Chris Burden in Walden Affairs, won the 2010 Prize for Young Art Criticism. Van  Rhijn studied Art History and has an MA in Museum Curating. She curated for the Centraal Museum, Nest (‘Out of Control’ with Roman Opalka, Walead Beshty, Roger Hiorns, Marijn van Kreij and Hedwig Houben ) and the Rijksmuseum Twenthe (‘herman de vries / to be / verzamelingen’).

Download of catalogue Daan van Golden. Reflecties, GEM Den Haag, 2014

Books –  Jonathan Meese. TOTALZELBSTPORTRAIT, GEM Den Haag, 2011,  S. Berg, M. Hellmold, H. Lehmann e.a., Marcel van Eeden. Zeichnungen und Malerei 1992-2009, Köln, 2009, and Infinite Jest.

Daan van Golden Sex Pistols 19792007

Daan van Golden, Sex Pistols, 1979-2007

Daan van Golden, Study Pollock, 1994

Daan van Golden, Study Pollock, 1994

Robert C. Morgan

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April 2016, Sao Paolo.

Robert C. Morgan holds a Master of Fine Arts degree and a Ph.D. in Art History. He has lectured widely, written literally hundreds of critical essays, and curated numerous exhibitions. In 1999, he was awarded the first Arcale prize in International Art Criticism in Salamanca, and in 2011 was inducted into the European Academy of Sciences and Arts in Salzburg.

In addition to his commitment as a geometric painter and concept-based artist, Morgan is author of several books, including Art intro Ideas (Cambridge University Press, 1996), The End of the Art World (Allworth Press, 1998), Bruce Nauman (Johns Hopkins University, 2002), Late Writings: Clement Greenberg (University of Minnesota, 2003) and The Artist and Globalization (The Municipal Gallery of Art, Lodz, Poland, 2008).  

Much of his recent work is being done in Asia where his books have been translated and published in Farsi (Tehran: Cheshmeh, 2010), Korean (Seoul: JRM, 2007), and Chinese (Beijing: Hebei, 2013).

In 2003, Dr. Morgan was appointed Professor Emeritus in art history at the Rochester Institute of Technology, and, in 2005, became a Senior Fulbright Scholar in the Republic of Korea. In 2015, he was appointed as a Board Member to the Museum of Contemporary Art in Buenos Aires (MACBA) and continues to teach graduate seminars in the MFA program at Pratt Institute and in Art History at the School of Visual Arts.

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Robert C. Morgan, Journal pages with painting titled Lissejous 1, a/c (2015)

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Robert C. Morgan, Journal pages with painting titled Lissejous 2, a/c (2015)

Nat Muller

nm01Nat Muller is an independent curator and critic based in Amsterdam. Her main interests include: the intersections of aesthetics, media and politics; media art and contemporary art in and from the Middle East. She is a regular contributor to Springerin, MetropolisM. Her writing has been published amongst others in Bidoun, ArtAsiaPacific, Art Papers, Hyperallergic, Canvas, X-tra, The Majalla, Art Margins and Harper’s Bazaar Arabia.

She has also written numerous catalogue and monographic essays on artists from the Middle East. With Alessandro Ludovico she edited the Mag.net Reader2: Between Paper and Pixel (2007), and Mag.net Reader3: Processual Publishing, Actual Gestures (2009), based on a series of debates organized at Documenta XII.

She has taught at universities and academies in The Netherlands and the Middle East, and has curated video and film screenings for projects and festivals internationally, including for Rotterdam’s International Film Festival, Norwegian Short Film Festival and Video D.U.M.B.O. She is a member of the Fund for Creative Industries and e-Culture’s advisory committee (NL) as well as Amsterdam’s municipal committee for artist studios.

Previously she served as a member of selection committee of the Mondriaan Fund (NL). In 2015 and 2016 Nat served as the Outreach Coordinator for the Prince Claus Fund.

Recent projects include Spectral Imprints for the Abraaj Group Art Prize in Dubai (2012), Adel Abidin’s solo exhibition I love to love… at Forum Box in Helsinki (2013), Memory Material at Akinci Gallery, Amsterdam (2014); Customs Made: Quotidian Practices & Everyday Rituals at Maraya Art Centre in Sharjah (2014); This is the Time. This is the Record of the Time at Stedelijk Museum Bureau Amsterdam & American University of Beirut Gallery (2014/15).

Nat is editorial correspondent for Ibraaz and in 2012 was a speaker on BBC World’s award-winning program The Doha Debates. In 2015 she curated a group show on contemporary Islamic miniatures Minor Heroisms for Galeri Zilberman (Istanbul) and Sadik Kwaish Alfraji’s acclaimed solo show Driven by Storms (Ali’s Boat) at Ayyam Gallery in Dubai for which she edited his first monograph, published by Schilt Publishing. In the same year she was Associate Curator for the Delfina Foundation’s Politics of Food Program (London). In 2016 she edited Nancy Atakan’s monograph Passing On published by Kehrer Verlag, and curated her solo show Sporting Chances at Pi Artworks (London). Her most recent show on the timely topic of loss of cultural heritage But Still Tomorrow Builds into My Face opened at Lawrie Shabibi Gallery during Art Dubai. She has been appointed guest curator for the A.M.Qattan 2016 Young Artist of the Year Award for Palestinian artists.

The following resources were mentioned in the interview;  http://www.ibraaz.org/www.reorientmag.comhttp://bidoun.org/

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This the Time. This is the Record of the Time. Stedelijk Museum Bureau Amsterdam, 2014. Image courtesy of SMBA. Photo by Gert Jan van Rooij.

SpectralImprints

Spectral Imprints. Abraaj Group Capital Art Prize. Art Dubai, 2012. Image courtesy of Abraaj Group.