Category Archives: Museum Director

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.

Brainard Carey

988460_10153171582812214_3334383062435884561_nBrainard Carey lectures on art and art education. He is an artist that collaborates with his wife Delia Carey. Their collaborative, Praxis was included in the Whitney Biennial and more recently a solo show at the Whitney, and the Slovenian Biennial, and they continue to make art.

Brainard Carey was born in Manhattan, New York, and grew up in Yonkers. After attending undergraduate art school at SUNY Purchase, he moved to Rhode Island and opened a gallery and began publishing a literary magazine. Carey then moved back to New York City, where he met Delia Bajo, and cofounded Praxis, which was invited to be in the Whitney Biennial in 2002 and to be in a solo show there in 2007, as well as other venues around the world. Carey also has an educational business, Praxis Center for Aesthetics, that helps artists to write grants, exhibit, and advance their careers. He has also written four books on professional development for artists.

He splits his time between New York City and a studio in New Haven, Connecticut, where he hosts the public affairs show on Yale University radio, WYBCX, The Lives of the Artists, Architects, Curators and more.

He interviewed himself for this interview, and the books he mentioned were Candice Millards’s 3 biographies; Hero of the Empire, River of Doubt, and Destiny of the Republic. He also talked about Laurie Shecks’s, A Monster’s Notes.

Hans-Jürgen Hafner

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Hans-Jürgen Hafner Photo: Katja Illner

Hans-Jürgen Hafner, born in 1972, is an exhibition organizer, writer and art critic. From 2011 to 2016 he was director of the Kunstverein für die Rheinlande und Westfalen in Düsseldorf. 

Hafner studied German sciences and history at the University of Regensburg. Having worked as a freelance writer and art critic since 2000, he has contributed numerous articles, essays and reviews to the online platform artnet.de, art magazines such as Camera Austria, Spike Art Quarterly and Texte zur Kunst, as well as many other publications. As an independent curator, Hans-Jürgen Hafner has organized numerous art exhibitions since 2004 such as „The Most Contemporary Picture Show, Actually“ (Kunsthalle Nuremberg, 2006), „difference, what difference?“ (Artforum Berlin, 2008) or „Bild und Träger und ein Pfeiler im Park Sanssouci“ (Brandenburgischer Kunstverein, Potsdam, 2011). These are generally thematic surveys, whereby the exhibition itself is also examined as a situation-specific format and a medium in its own right. From 2011 to 2016 Hafner has been the artistic and managing director of the Kunstverein für die Rheinlande und Westfalen, where he has organized monographic exhibitions with artists such as Tim Berresheim, Charlotte Prodger, Josephine Pryde, Rosa Sijben, Dominik Sittig and Walter Swennen and thematic exhibitions such as „Das Beste vom Besten“ on art’s differentiating economies, „Zum Beispiel ‘Les Immatériaux‘“ co-curated by Christian Kobald with reference to Jean-François Lyotard’s seminal ‚philosophical‘ exhibition „Les Immatériaux“ from 1985 or „Die Kunst der Türken/The Art of the Turks/Türklerin Sanati“, co-curated by Manuel Graf; in 2012 and 2013 Hafner also presented the first museum survey of the artistic oeuvre of Henry Flynt in Düsseldorf and ZKM Karlsruhe. Flynt established ‘concept art’ as genre as early as 1961 and is also known as a philosopher and composer. 

Together with the painter and art critic Gunter Reski, Hafner curated the exhibition The Happy Fainting of Painting in 2012, focussing on the problematic discursive situation of painting, and published an anthology of the same title in 2014. Alongside new essays, interviews and artists’ contributions, the publication includes a number of key historical texts on painting since the 1980s that have been translated into German for the first time. After five years in Düsseldorf Hafner is again based in Berlin and works as freelance art critic occasionally involving himself in the dubious business of curating. He is a regular contributor to research platform Institut für Betrachtung (IFB), an initiative by artist Tim Berresheim and art historian Wolfgang Brauneis.

The books mentioned in the in the interview are Helmut Draxler: Die Abdrift des Wollens (2016) and Sabahattin Ali: Die Madonna im Pelzmantel (1940-43/german edition 2008)

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Installation shot „Die Kunst der Türken/The Art of the Turks/Türklerin Sanati“ (curators Manuel Graf, Hans-Jürgen Hafner), Kunstverein für die Rheinlande und Westfalen, Düsseldorf, 2015 Photography: Katja Illner Courtesy Kunstverein für die Rheinlande und Westfalen

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Photography: Katja Illner Courtesy: Kunstverein für die Rheinlande und Westfalen

Claire Hopkinson

claire_2016Since her appointment to Toronto Arts Council and Toronto Arts Foundation in 2005, both organizations have experienced significant growth in funding and impact, innovation in strategy and delivery, and greater understanding of their roles in the community. Early in her tenure she developed the direction Creative City Block, Block by Block, an overarching vision to have the arts accessible by all Toronto residents.

A graduate of McGill University in English Literature (Honours), Claire then spent approximately 25 years commissioning, developing and producing works of opera and theatre, and running several arts organizations. An agent of change, she was instrumental in moving contemporary opera from the outskirts of the field to the revitalised centre. Claire also invested considerable time and energy into developing support for and getting Canadian artists onto international stages. Her evolution into policy maker and advocate – from arts producer – was a logical progression from her volunteer work as Founding Chair of Opera.ca, Vice Chair of Opera America, and co-founder and President of Creative Trust. She is committed to the value of collaboration and to developing partnerships across sectors to deepen the impact of the arts.

Much of the impetus for Claire’s work in cultural policy is to understand and communicate the impact  of the arts in society, and most particularly the vital role of that the arts play in city building in the culturally vibrant city of Toronto. In May of 2001, Claire won the national M. Joan Chalmers Award for Arts Administration in recognition of her contribution to Tapestry New Opera and the arts in Canada. In 2006 she was recognized by Theatre Ontario with the Sandra Tulloch Award for Innovation in the Arts. She served as Co-Chair for the International Society for the Performing Arts 2011 Annual Congress in Toronto, which attracted the largest gathering of arts presenters in ISPA’s history.

Claire Hopkinson was interviewed by Kristen Fahrig for this edition.

 

Jens Hoffmann

Jens Hoffmann 2012 - Photo by Robert AdlerJens Hoffmann joined the Jewish Museum in a newly created position as Deputy Director, Exhibitions and Programs in November 2012.

Formerly Director of the CCA-Wattis Institute for Contemporary Arts in San Francisco from 2007 to 2012 and Director of Exhibitions and Chief Curator at the Institute of Contemporary Art in London from 2003 to 2007.

Hoffmann has organized more than 50 shows internationally including major biennials like the 12th Istanbul Biennial (2011) and the 9th Shanghai Biennial (2012).

People's Biennial Installation Shot

People’s Biennial Installation Shot

Exhibition view of Unorthodox at The Jewish Museum, NY

Exhibition view of Unorthodox at The Jewish Museum, NY

Peter Pakesch

IMG_2605Peter Pakesch (July 16, 1955 in Graz, Styria) began studying architecture, but also was active early on as an artist. His first experiences as an exhibition curator were gathered in the Forum Stadtpark in Vienna from 1976 to 1979 and at the steirischerherbst. Time spent studying in New York in 1980 yielded important encounters and involvement in activities around Fashion Moda and the Times Square Show.  

After his return to Austria, Pakesch opened his own gallery in Vienna in 1981, in which he presented first exhibitions with the likes of artists such as John Baldessari, Herbert Brandl, IlyaKabakow, Mike Kelley, Martin Kippenberger, Sol LeWitt, Albert Oehlen, Franz West and Heimo Zobernig. In 1986 he founded the Graz Kunstverein together with the Graz-based cultural policy maker Helmut Strobl, running it as artistic director up to 1988. As part of this activity he published the inter-disciplinary magazine Durch. Together with Hubert Klocker, he organised the project Protect Me From What I Want, a collaboration with Jenny Holzer and Keith Haring. In 1990, jointly with Johannes Schlebrügge, he founded the magazine Fama & Fortune Bulletin, which appears at irregular intervals.  

In 1993 Pakesch closed his gallery in Vienna. In his 12 years as a gallery owner, he succeeded in bringing to international prominence such Austrian artists as Herbert Brandl, Franz West and Heimo Zobernig. In the years that followed he worked as a freelance curator for the National Gallery in Prague, and in 1996 he assumed the post of Director of the Kunsthalle Basel. There he showed first museum exhibitions by young artists such as OlafurEliasson, Michel Majerus or Pawel Althamer, pushed forward the restoration of the historical building and reorganised the local annual exhibition into a format called ‘Regionale’ that still presents an important, major exhibition located between Mulhouse, Freibug and Basel. From 1996 to 1998 he travelled to the post-Communist countries as a member of the Soros International Advisory Board. In 1997 he married the actress and film producer Michaela Leutzendorff, and in 1998 his daughter Josepha was born.  

Since 2003 Pakesch has been Intendant and Artistic Director of the Universalmuseum Joanneum. From the very outset, one central task in this function was the fundamental renewal of the individual locations of this, the oldest public museum in Austria – above all, the creation of the Joanneum Quarter, opened in 2011 to mark the 200th jubilee of the founding of the Joanneum. Pakesch has also been responsible for various groundbreakingexhibitions at the Kunsthaus Graz, which was opened in 2003 and which likewise belongs to the group of institutions gathered under the Universalmuseum Joanneum. Examples of exhibitions for the Kunsthaus include the twin-show Warhol Wool Newman – Painting Real und Screening Real – Conner Lockhart Warhol(2009), and the exhibition Franz WestAutotheater, Köln – Neapel – Graz, which he curated in 2010 together with Kasper König, Katia Baudin (Museum Ludwig Köln) and Mario Codognato (MADRE Neapel) and which he was able to realise in Graz, not least of all due to his long friendship with Franz West. His close contacts with national and international great figures of art enabled him to show exhibitions in Graz with works by Ai Weiwei (2011, Kunsthaus Graz), Michelangelo Pistoletto (2012, Neue Galerie Graz), Heimo Zobernig (2013, Kunsthaus Graz), Ilya and Emilia Kabakov (2014, Kunsthaus Graz), as well as the first solo exhibition of the American film-maker James Benning(2014, Kunsthaus Graz). 

Peter Paksech also cultivated close contacts with the Austrian painter Maria Lassnig until her death in May 2014. The last great Lassnig solo show during her lifetime was staged in the NeueGalerie Graz in 2012 under the auspices of Peter Pakesch and curated by Günther Holler-Schuster. With this event also began the creation of a catalogue of works by Maria Lassnig.

 Fall 2015 Peter Pakesch finished his work on the lead of the Universalmuseum Joanneum to devote his full time in building up the Maria Lassnig Foundation in Vienna. This foundation was founded at the will of the artist in order to advance the understanding and the distribution of her work.

For the Universalmuseum Joanneum he is still responsible for two shows: Terry Winters, The Painter’s Cabinet and Kneaded Knowledge – The Language of Ceramics with Ai Weiwei and Edmund de Waal. 

Learn more about the following exhibtions through these links – Fama Fortune Bulletin: Universalmuseum JoanneumKunsthaus Graz:,Warhol-Wool-Newman: Screening Real:,Franz West: Autotheater, Köln – Neapel – GrazCittadellarte:, Neue Galerie Graz:, Ai WeiweiHeimo Zobernig:,Michelangelo Pistoletto: Maria Lassnig: Ilya and Emilia Kabakov:, James Benning:,Terry Winters, The Painter’s Cabinet:  Kneaded Knowledge – The Language of Ceramics.

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“Cittadellarte. Sharing Transformation”, 2012 Kunsthaus Graz, Photo: N. Lackner

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“The Painter’s Cabinet. Terry Winters’ Dialogue with Nature”, (runs until August, 21) Photo: N. Lackner

Kimberli Meyer

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Kimberli Meyer, Photo by Mimi Teller

Kimberli Meyer studied architecture at University of Illinois, Chicago, and art at California Institute of the Arts. She has been the director of the MAK Center for Art and Architecture at the Schindler House in West Hollywood, California since 2002. She has initiated and organized many programs there, including the exhibitions How Many Billboards? Art In Stead, co-curated with Lisa Henry, Nizan Shaked, and Gloria Sutton, which presented 21 newly commissioned artworks on Los Angeles billboards (2010); Sympathetic Seeing: Esther McCoy and the Heart of American Modernist Architecture and Design, co-curated with Susan Morgan (2011); AV: New Works by Andrea Fraser, Vanessa Place (2014); Begin Again, Begin Again, a solo exhibition by Renée Green (2015); and Schindler Lab, co-edited with Anthony Carfello and Sara Daleiden (2015). She was the commissioner for the U. S. Presentation at the 11th International Cairo Biennale, and is a recipient of an individual research grant from the Graham Foundation.

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Opera Povera performance with Sean Griffin at the Schindler House, 2015. Photo by Mimi Teller, courtesy of the MAK Center

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Installation view of the Los Bar, an artist-in-residence project in a garage at the Mackey Apartment Building, 2015. Andreas Bauer, Christoph Meier, Robert Schwarz, Lukas Stopczynski, and friends, Wood, cardboard, plastic, paper, concrete, steel, brass, aluminum, rubber foam, acrylic, tape, paint, electric, alcohol, ice. 671 x 252 x 258 cm

Irene Hofman

2013 Opening at Site

2013 Opening at Site

Irene Hofmann is the Phillips Director and Chief Curator of SITE Santa Fe, a position she has held since 2011. In her role at SITE she is expanding the breadth and reach of SITE’s exhibition program, which includes reimagining SITE’s signature biennial exhibition as a new series of connected biennials with a focus on contemporary art from the Americas.

Over the last decade she has curated new commissions and solo exhibitions by artists including Joseph Grigely, Mungo Thomson, Enrique Martinez Celaya, Jason Dodge, Marjetica Potrc, Fabrice Gygi, and Inigo Manglano-Ovalle. She has also held positions at the Contemporary Museum, Baltimore, the Orange County Museum of Art, Cranbrook Art Museum, the Art Institute of Chicago, the Walker Art Center, and the New Museum of Contemporary Art. She holds a BA in Art History from Washington University in St. Louis, and a MA in Modern Art History, Theory, and Criticism from The School of the Art Institute of Chicago.October 19, 2015.

Interview conducted by Angela Fraleigh.

Geno Rodriguez

IMG_0774Geno Rodriguez (ne Eugene Rodriguez) Born 1940 New York City. In 1975 Rodriguez co-founded the Alternative Museum, an influential and international locus for artists who were creating art and music, which addressed the pressing socio-political issues of the times.

At a time when political art and diversity were not considered mainstream issues, The Alternative Museum served as a base for the many artists who were disenfranchised from the American arts scene.

Rodriguez is also known as an artist. His artworks have been widely exhibited and are in the collections of numerous museums and private collections including: New York’s Metropolitan Museum of Art, The Museum of the City of New York, the International Center of Photography, New York and the Museum of Fine Arts, Houston, Texas. Rodriguez is also the recipient of awards and fellowships such as: The National Endowment for the Arts Photography Fellowship (1979), and a Ludwig Voglestein arts award. He is also the recipient of the Phelps Stokes Foundation’s Distinguished Visitor to Africa, the Rockefeller Trust for Mutual Understanding and a Rockefeller Asian Cultural Council award.

In 1961 after serving in the U.S. Navy (stationed in Morocco) he returned to New York City. That same year he moved to Denmark where he studied at the International Peoples College in Elsingor. In 1962 he moved to London to study visual at the Hammersmith College of Art and Building in London. Four years later in 1966 he received his “National Diploma in Art and Design”. In 1975, Hammersmith College of Art was incorporated into the Chelsea College of the Arts and Design. In late 1966 Rodriguez moved back to Copenhagen, Denmark where he worked for Tue Poulsen, a master ceramist. He returned to New York City in 1968.

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Geno, Jan, Robert 1975 TAM White street. First Location.

As well as being a founder and director of the Alternative Museum (NYC), Rodriguez was Adjunct Professor at Rutgers University, New Jersey 1976 -78 and at School of Visual Arts, New York, New York. 1977 – 83.

His museum career as a curator began in 1972 when he organized and presented his first major exhibition, Dos Mundos: Worlds of the Puerto Ricans at the Huntington Hartford Gallery of Modern Art, in New York City. In 1973 The Museum of the City of New York invited Rodriguez to create another exhibition, Mira, Mira, Mira: Puerto Rican New Yorkers. In 1975 along with Robert Browning and Janice Rooney, Rodriguez founded the Alternative Center for International Arts, later to be known as the Alternative Museum 1975 – 2001.

Rodriguez has organized over 300 exhibitions and  produced close to 400 concerts and panel discussions. As the Museum’s director and curator, Rodriguez consulted and served on many National, State and City arts and culture panels as well as international cultural conferences. In 1992, he was a member of the Clinton/Gore Presidential Transition Team for the Arts and Humanities. In March 2000 he served as a juror for the 3rd Kwangju Biennale of Art (in Korea). In April 2001 Rodriguez was the Keynote Speaker at the Australian Small Museums Summit where he spoke on “Dissolving Distances: Becoming an Internet museum.”

He has been a speaker at numerous cultural and media venues including: Museum of Modern Art, New York City, Hirshorn Museum, Washington D.C. and the Association of American Museums Conferences as well as numerous local and international media venues.

Exhibition venues include The Flint Institute of Arts, Flint Michigan, the Mint Museum in Charlotte, North Carolina; The Wadsworth Athenaeum, Hartford, Connecticut; Art Space in Baltimore, Maryland; the Bronx Museum, Bronx, NY; Museum of the City of New York, N.Y. the N.Y. Huntington Hartford Cultural Center, New York City; and The Alternative Museum in New York City.

Exhibitions include Dos Mundos: Worlds of the Puerto Ricans 1973, Mira, Mira, Mira, Museum of the City of New York 1974, Ten Japanese Artists, 1975; Legacy of James Vanderzee, 1977; Sacred Artifacts: Objects of Devotion, 1982; Disinformation: The Manufacture of Consent, 1985; Repulsion: Aesthetics of the Grotesque, 1987; Foreign Affairs: Conflicts in the Global Village, 1988; Dia De Los Muertos, 1988; Prisoners of Image: Ethnic and Gender Stereotyping, 1989; Mon Reve: Haiti after the Duvaliers, 1989; Artists of Conscience, 1992; Peoples Choice: Komar & Melamid, 1994; Expansion Arts, I, II, III, 1995-1998; (Mickey) Mouse: An American Icon, 1998; The Artists as Patron, 1999; Honeymoon Series by Yoshio Itagaki, 2000; Between the Real and the Unreal: Recent works by Simen Johan, 2000, Genochoice an installation by Virgil Wong, 2000. On The Line: Online, 2001, Thy Brothers’ Keeper 2006. We The People, Brik Gallery Catskill, N.Y., 2013.

Some artists exhibited include: Leon Golub, Andres Serrano, Lorna Simpson, Luis Jimenez, Les Levin, Komar & Melamed, Nancy Spero, Ben Sakoguchi, Ida Applebroog, Enrique Chagoya, James Nachtwey, Wenda Gu, Starn Twins, Ok Sang Lim, Terry Allen, William Wegman, Francesca Woodman, Zhang Ga  and Farancesc Torres.

Music at The Alternative Museum

In 1976, The Alternative Museum launched its World Music Program. For the first time, New York City had an ongoing venue where music from all over the world was presented in an informal Traditional, folk, and modern music from India, Gambia, China, Peru, Ireland, the U.S., and many other countries found its way to New York City audiences. Concerts at The Alternative Museum looked like a gathering at the United Nations.

The Alternative Museum also provided a showcase for experimental work that had little chance of exposure in conventional concert halls. In 1985, the main emphasis of The Alternative Museum’s Music Program became the presentation of new American music, including music with firm roots in the classical and jazz traditions. Composers and musicians who performed at The Alternative Museum include: Don Cherry, Joseph Jarman, Leroy Jenkins, The Kronos Quartet, Carman Moore, Bob Moran, Hamiet Bluiett, Joan La Barbara, Frank London, Horace Tappscott, Terry Rilley, Richard Titelbaum, John Zorn, Henry Threadgill, Glenn Velez and Reggie Workman, Ornatte Coleman.

In 1966 after graduating from Hammersmith College of Art and Building, Rodriguez married his classmate and Alternative Museum co-founder Janice Rooney. They moved to Denmark where their daughter Samantha Marisol Rodriguez was born in 1967. They have had homes in Puerto Rico, France and New York. Rodriguez has traveled extensively through out the world. He considers himself to be a socio-political humanist.

 

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Lucien Perkins from, “Thy Brother’s Keeper” 2006 (Child transport Southern Chechnya)

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Enrique Chagoya, From: “When Paradise Arrived” Solo exhibition 1989.

Richard Julin

richard-julin-deputy-director-amp-chief-curator-highRichard Julin is Deputy Director and Chief curator at Magasin III Museum & Foundation for Contemporary Art in Stockholm, Sweden.

He focuses on productions of new work with contemporary artists. In the last years artists’ collaborations include Andrea Zittel, Tino Sehgal, Miranda July, Pipilotti Rist, Tom Friedman, Mona Hatoum, Katharina Grosse, Sofia Hultén and Ayse Erkmen.

He is an Affiliated Professor and teacher at the Stockholm University, Department of History of Art, International Master Program in Curating Art.

In the interview, the upcoming show we’re discussing is listed here, for further reading.  

Learn more about other shows curated by Richard Julin by clicking on this link.

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Pipilotti Rist, Tyngdkraft, var min vän, (Gravity, Be My Friend,) 2007, Installation view

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Installation view from the exhibition wizz eyelashes, September 19, 2014-June 7, 2015 at Magasin III. Photo: Christian Saltas. Magasin III Museum & Foundation for Contemporary Art. Art works from left to right: Katharina Grosse, Untitled, 2014 ; Walter De Maria, Large Rod Series: Circle/Rectangle 13, 1986, Katharina Grosse, Untitled, 2004

Max Presneill

ViennaMax Presneill is an artist and curator, originally from London, UK, who moved to Los Angeles in 1997. Currently he is the Director/Senior Curator for the Torrance Art Museum as well as Founder and Curatorial Director of ARTRA Curatorial, an independent and voluntary curatorial projects management team which organizes international exhibition exchanges as well as the MAS ATTACK series of pop-up exhibitions. Previously he was the Founder and Director of the alternative space, Raid Projects, an influential gallery which had an international Artist-In-Residency program (1998-2008).
He has extensive experience nationally and internationally having organized exhibitions for museums, institutes and galleries in the US and UK, the Netherlands, Japan, Germany, Mexico, China, Turkey, Australia, and more, including artists such as Damien Hirst, Chuck Close, Bruce Nauman, Paul McCarthy, Ed Ruscha, Tracey Emin, Shaun Gladwell, Rubin Ochoa,  Albert Ohlen, Steve Roden, Richard Tuttle, Analia Saban, Yoshua Okon, Gavin Turk, and Olafur Eliasson, Gillian Wearing and many others while retaining a primary interest in emerging artists. He is also a contributing writer to the emerging artists section of FABRIK magazine. His curatorial interests are with artist-led projects, emerging art, new models for curatorial methodologies and an international scope for partnerships and exchanges.
As an artist he has exhibited throughout the world including Los Angeles, New York, London, Amsterdam, Paris, Berlin, Vienna, Istanbul, Sydney, Guangzhou and Tokyo. His work has been included in the Istanbul Biennial and the Yokohama Triennial parallel events as well as international museums. His paintings deal with memory, identity, existential states and the possibility of political action through painting.  See more on his website.

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Installation shot of Forgetting The Future, at the Torrance Art Museum. July 2015

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Max Presneill, REDACT 042.2, 2015, oil and enamel on canvas, 72 x 60 inches

 

Shaheen Merali

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photo by Studio Putz+

Shaheen Merali is a curator and writer, based in London, who explores the intersection of art, cultural identity and global histories in his work. Previously, he was a key lecturer at Central Saint Martins School of Art (1995- 2003); a visiting lecturer and researcher at University of Westminster (1997- 2003) and the Head of Department of Exhibitions, Film and New Media at the Haus der Kulturen der Welt, Berlin (2003-2008) where he curated several exhibitions accompanied by publications, including The Black Atlantic; Dreams and Trauma- Moving images and the Promised Lands; and Re-Imagining Asia, One Thousand years of Separation.

Merali was the co-curator of the 6th Gwangju Biennale, Korea (2006) and curator of Berlin Heist or the enduring fascination of walled cities for the 4th Mediations Biennale, Posnan, Poland (2014). His recent exhibitions include Refractions, Moving Images on Palestine, P21 Gallery, London; When Violence becomes Decadent, ACC Galerie, Weimar; Speaking from the Heart, Castrum Peregrini, Amsterdam and Fragile Hands, University of Applied Arts, Vienna.

His essays have been included in recent publications including, Contemporary Art from the Middle East, Edited by Hamid Keshmirshekan, IB Tauris, 2015; and InFLUX, Contemporary Art from Asia, Edited by Parul Dave Mukherji, Naman P.Ahuja, Kavita Singh, Sage Publications, 2013.

Merali’s monograph essays include writings on Agathe de Bailliencourt, Jitish Kallat, Sara Rahbar, TV Santhosh, Cai Yuan and JJ Xi (Madforeal) amongst others.

More writing from Merali can be seen in this pdf of The Promise of Loss.

Read the catalog Fragile Hands here and also the Berlin Heist catalog is here.

Fragile Hands Poster

Image: Rajib Chowdhury, Design Farhad Fazouni

 

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Image Julian Rosefeldt, Design Farhad Fazouni

Suzanne Landau

Suzanne Landau 11. JPG צילום?????Suzanne Landau was appointed as the Landeau Family Curator of Contemporary Art at the Israel Museum in 1982, and since 1998 she is also the Yulla and Jacques Lipchitz Chief Curator of the Arts. In the course of over 20 years she has founded the Israel Museum’s international contemporary art collection and curated numerous exhibitions including James Turrell: Two Spaces (1982), Anselm Kiefer (1984), Three British Sculptors: Richard Deacon, Julian Opie, Richard Wentworth (1985), New York Now  (Jeff Koons, Sherrie Levine, Allan McCollum and others, 1987), Christian Boltanski: Lessons of Darkness (1989), Life Size: A Sense of the Real in Recent Art (1990), Hidden Reflections (Marylène Negro, Christian Marclay, Hiroshi Sugimoto and others, 1992), Kiki Smith (1994), Gerhard Richter (1995), Marks: Artists Work Throughout Jerusalem (David Hammons, Juan Muñoz, Sarkis and others, 1996) Skin-Deep: Surface Appearances in Contemporary Art (Zoe Leonard, Ana Mendieta, Khalil Rabah, Jana Sterbak and others, 1999), Yinka Shonibare: Double Dress (2002), Nedko Solakov: Alien Auras (2003), Vanishing Point: Hidden Beauty in Contemporary Art (2005), Green Line – A Project by Francis Alÿs (2005), News (2006), Made in China – The Estella Collection (2007), Bizarre Perfection (2008), First Show: Contemporary Art from The Israel Museum, Jerusalem. Mani House, Tel Aviv (2009), Still/Moving (2010), Christian Marclay, The Clock (2011), curator in charge of William Kentridge, Five Themes (2011), Magic Lantern (2011).

As the curator of the Billy Rose Art Garden she initiated and curated several notable site-specific projects by Richard Serra (1986), Magdalena Abakanowicz (1987), Sol LeWitt (1991), Claes Oldenburg (1992), James Turrell (1992), Mark Dion (2009), Anish Kapoor (2010)
She was also co-curator of Art Focus 4, International Biennial of Contemporary Art, Jerusalem (2003) and curator of the Israeli Pavilion at the 52 Venice Biennale with Yehudit Sasportas’ Guardians of the Threshold (2007).

Member of CIMAM organization where she served as a board member for many years; participated in many juries, among them the Lenon Ono Grant for Peace; the Wolf prize for the Art; and several times as final judge for the Nathan Gottesdiener prize.

Lead the renewal project of the Fine Arts Wing at the Israel Museum (2007 – 2010).

Since August 2012 Director and Chief Curator of the Tel Aviv Museum of Art.

Rainer Judd

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Rainer Judd, Photo Adam Fedderly.

Rainer Judd grew up in New York City and Southwest Texas. She graduated from New York University, Tisch School of the Arts – Circle in The Square.

She has studied acting with Sandra Seacat, Larry Moss, and Joan Scheckel and workshopped with Actor’s Gang, British American Drama Academy, and Met Lab in Los Angeles, and the LABrynth Theater Company in New York. Rainer Judd starred opposite Martin Donovan in the “The Pornographer, A Love Story.” In “American Reunion,” Rainer played a distraught divorcee in the ensemble dogme film with co-stars such as Billy Wirth. In “Hugo Pool,” directed by Robert Downey Sr. she had the opportunity to write and develop a character to star opposite Alyssa Milano and Cathy Moriarity.

In addition she has worked with directors Janusz Kaminski, Michael Rhymer, Peter Chelsom and Peter Hyams. Learn more by following her on instagram @rainerjudd