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Board of Trustees                            Staff                            Committees & Task Forces

 

AAMC Board of Trustees

2017-2018

 

AAMC Board of Trustees

 

 

Executive Committee

Graham C. Boettcher, Deputy Director & The William Cary Hulsey Curator of American Art, Birmingham Museum of Art; Vice President, Finance

Graham C. Boettcher is Deputy Director & The William Cary Hulsey Curator of American Art at the Birmingham Museum of Art in Alabama, where he has worked since 2006, and was Luce Foundation Curatorial Fellow of American Art until 2008. He was previously a curatorial fellow at the Yale University Art Gallery, and has held research fellowships at the Amon Carter Museum of American Art, and the Terra Foundation Summer Residency in Giverny, France. Boettcher recently curated The Look of Love: Eye Miniatures from the Skier Collection (2012), for which he edited and contributed to a major publication by the same name. He is currently working on an exhibition exploring the Viking Revival in American art. Boettcher received his BA and PhD from Yale University, and an MA from the University of Washington in his home state. He has served as a trustee of the Association of Art Museum Curators & AAMC Foundation since 2010.
 


Christa Clarke, Senior Curator, Arts of Global Africa, Newark Museum; President

Christa Clarke is Senior Curator, Arts of Global Africa, at the Newark Museum. Since her appointment in 2002, she has pioneered Newark’s collecting of modern and contemporary arts of Africa, building upon its important collection of historic art. Clarke has also organized numerous exhibitions, ranging from men’s fashion to Nigerian modernism. Her scholarship on the history of collecting and display and the politics of representation includes Representing Africa in American Art Museums: A Century of Collecting and Display (co-edited with Kathleen Berzock; 2010) and African Art in the Barnes Foundation (2015), which received the James A. Porter and David C. Driskell Book Award for African American Art History and a First Place Award for Excellence from the AAMC in 2016.

Clarke has held fellowships at the Smithsonian, the Metropolitan Museum of Art, and the Clark Art Institute, and teaching appointments at NYU Abu Dhabi, University of Pennsylvania, George Washington University, Rutgers University, Purchase College, and Drew University. An involved member of the AAMC since its founding, Clarke served on the AAMC’s Committee on Professional Standards (2003-2007) and chaired the Membership Committee (2009-2011). In 2012, she joined the Board of Trustees, serving on the Executive Committee as Vice President of Programs from 2013-2016 and since 2015, as co-leader of the Inclusion & Access Task Force. Clarke was also a fellow at the Center for Curatorial Leadership in 2012. She received her BA from the University of Virginia and MA and PhD in Art History from the University of Maryland.



Catherine L. Futter, Director of Curatorial Affairs, The Nelson-Atkins Museum of Art; Vice President, Communications

Catherine L. Futter is the Director of Curatorial Affairs at The Nelson-Atkins Museum of Art. Prior to the Nelson-Atkins, Catherine was at the Minneapolis Institute of Arts and the Chrysler Museum of Art. While at the Nelson-Atkins, Catherine has overseen permanent collection reinstallation projects, curated contemporary art, design and architecture exhibitions and co-curated a major international loan traveling exhibition, Inventing the Modern World: Decorative Arts at World’s Fairs, 1851-1939. Catherine is also the project manager for the museum’s cultural district project and a member of the museum’s Strategic Leadership Group. In 2014, she was a Fellow with the Center for Curatorial Leadership. Catherine is actively involved with mentorship: she was Co-Chair of the Association of Art Museum Curators Career Support Committee and a mentor for MINDDRIVE, an after-school program for urban youth; Charlotte Street Foundation Studio Residency Program; and, the Yale University Graduate Student Assembly and Graduate & Professional Student Senate Alumni Matching Program.



Madhuvanti Ghose, Alsdorf Associate Curator of Indian, Southeast Asian, Himalayan, & Islamic Art, The Art Institute of Chicago; Vice President, Governance

Dr. Madhuvanti Ghose is the first Alsdorf Associate Curator of Indian, Southeast Asian, Himalayan, and Islamic Art at The Art Institute of Chicago. Since joining the Art Institute in 2007, Ghose has launched the Alsdorf Galleries of Indian, Southeast Asian, Himalayan, and Islamic Art (2008) and curated the site specific Public Notice 3 (2010–11) by Jitish Kallat, which was the first show by a contemporary Indian artist to be held at the Art Institute. She has curated a series of Indian art exhibitions for the Art Institute including Gates of the Lord: The Tradition of Krishna Paintings (2015–16) and Vanishing Beauty: Asian Jewelry and Ritual Objects from the Barbara and David Kipper Collection (2016).


Dr. Ghose led the Vivekananda Memorial Program for Museum Excellence (2012–16), a four-year project funded by a grant from the Government of India that was designed to foster professional exchanges between the Art Institute and various museums in India. In 2013 she was honored by the Chicago Foundation for Women with a Breaking Barriers Award and in 2014, she was presented with the Outstanding Community Service Award by the Vishwa Gujarati Samaj, USA.

After completing her doctoral dissertation at the University of London, Ghose was a Research Fellow at the Department of Eastern Art, Ashmolean Museum, Oxford University. She was previously Lecturer in South Asian Art and Archaeology at the School of Oriental and African Studies (SOAS), University of London,
UK. 6.
 



 Jen Mergel, Independent Curator; Vice President, Programs

Jen Mergel is an independent curator based in Boston, MA. From 2010 until April 2017, Mergel served as the Museum of Fine Arts, Boston's Beal Family Senior Curator, where she curated inaugural installations of the Linde Family Wing for Contemporary Art, open in 2011, and developed the strategy to expand the MFA contemporary collection and exhibition program. To that end, she pursued cultural partnerships nationally and internationally, while also focusing on the Museum’s connections to artists in Boston. She developed solo artist exhibition series, including Kristin Baker: New Paintings (2010), Jedediah Caesar: Soft Structures (2011), Ridley Howard: Fields and Stripes (2013), and Shinique Smith: BRIGHT MATTER (2014). Mergel also introduced new modes of exhibition across public spaces and collection galleries, with projects such as: Sparking Dialogue (2011-2014), with text-based works by three generations animating the public space of the Contemporary Wing; Passages: Felix Gonzalez-Torres (2011-2015), the 20th-anniversary loan presentation of all of the artist's beaded curtains; and Lee Mingwei: Sonic Blossom (2015), the first ongoing interactive performance art exhibition in the Museum’s history. The major touring exhibition and catalogue Permission to be Global / Prácticas Globales (2013-14), was the MFA’s first exhibition of contemporary art from Latin America. Forthcoming exhibitions explore the Internet’s impact on contemporary art from across the African continent (2016) and the first US retrospective of the diverse works of Tadanori Yokoo (2018). Previously at Boston’s Institute of Contemporary Art, she was curator of numerous exhibitions including Tara Donovan, the artist’s first museum survey, and Acting Out: Social Experiments in Video. Jen graduated summa cum laude in Visual and Environmental Studies from Harvard University, and she received her MA from Bard’s Center for Curatorial Studies in Art and Contemporary Culture. She has been invited by cultural organizations to review art in Colombia, France, Lebanon, Mexico, Nigeria, and Taiwan; has taught at Harvard and Boston University; and is a proud native of Boston.





Trustees At Large

Paola Antonelli, Senior Curator, Architecture & Design, & Director, Research & Development, The Museum of Modern Art

Paola Antonelli, Senior Curator of Architecture & Design, Director of Research & Development, MoMA. Paola Antonelli’s work investigates design’s influence on everyday experience, often including overlooked objects and practices, and combining design, architecture, art, science and technology. In addition to her role as Senior Curator of Architecture and Design at MoMA, Paola was appointed director of a new Research and Development initiative in 2012. She lectures frequently at high-level global conferences and coordinates cultural discussions at the World Economic Forum in Davos. A true interdisciplinary, energetic and generous cultural thinker, Paola was recently rated as one of the top one hundred most powerful people in the world of art by Art Review.
 



Sharon Matt Atkins, Director of Curatorial Affairs, Brooklyn Museum

Sharon Matt Atkins is Director of Curatorial Affairs at the Brooklyn Museum, overseeing the museum’s in-house and touring exhibition program, in addition to collections management. She has curated numerous exhibitions, including most recently Stephen Powers: Coney Island Is Still Dreamland (To a Seagull) and FAILE: Savage/Sacred Young Minds. She is also organizing Iggy Pop Life Class: A Project by Jeremy Deller, scheduled to open in late 2016. In 2014, she organized Swoon: Submerged Motherlands, as well as the Brooklyn presentation of Ai Weiwei: According to What?. In 2012, she co-organized GO: a community-curated open studio project with Shelley Bernstein. She has also coordinated exhibitions devoted to Andy Warhol and Norman Rockwell, and has facilitated numerous other special exhibitions. Before her move to Brooklyn, Atkins was the Assistant Curator at the Currier Museum of Art, Manchester, New Hampshire, since 2004. There, she was responsible for modern and contemporary art, and organized exhibitions from the collection as well as traveling loan shows—among them Andy Warhol: Pop Politics, which traveled to the Neuberger Museum of Art, and Spotlight New England: Kirsten Reynolds. Previously, she held positions at the Museum of Fine Arts, Boston, The Metropolitan Museum of Art, and Jane Voorhees Zimmerli Art Museum. Atkins received an MA and a PhD from Rutgers University, New Brunswick, New Jersey, where she also taught art history and writing courses.
 



Tobi Bruce, Director, Exhibitions & Collections, & Senior Curator, Art Gallery of Hamilton

Tobi Bruce is Director, Exhibitions and Collections and Senior Curator at the Art Gallery of Hamilton, having previously held positions in curatorial, collections management, research and education at the Art Gallery of Hamilton, Carleton University Art Gallery (Ottawa) and the Agnes Etherington Art Centre (Kingston). With over twenty years' experience working with public collections, Tobi has curated over fifty exhibitions, lectured extensively on collection building and curatorship, general art history, and women artists, and has participated as a panelist at conferences nationally and internationally. Her most recent undertakings are The Artist Herself: Self-Portraits by Canadian Historical Women Artists (with the Agnes Etherington Art Centre, Queen's University) (2015-2016); Into the Light: The Paintings of William Blair Bruce (1859 - 1906) (2014); The French Connection: Canadian Painters at the Paris Salons (2011) and William Kurelek: The Messenger (2011-2012), a collaboration with the Winnipeg Art Gallery and the Art Gallery of Greater Victoria which was named in the top three exhibitions of 2012 by editors at Canadian Art magazine. A graduate of Queen's (BAH Art History) and Carleton (MA in Canadian Art) universities, Tobi also served two terms as a Director with the Ontario Association of Art Galleries. Most
recently Tobi was made an Adjunct Lecturer at McMaster University, where she is currently teaching Canadian Art.



Julian Cox, Chief Curator & Founding Curator of Photography, Fine Arts Museums of San Francisco

Julian Cox joined the Fine Arts Museums of San Francisco in 2010 as its Founding Curator of Photography and Chief Curator. He was educated in Great Britain and holds a BA in Art History from the University of Manchester and an MPhil in the History of Photography from the University College of Wales. After holding curatorial positions at the National Library of Wales and the National Museum of Photography, Film & Television, Bradford, England, he moved to the United States in 1992 to pursue his career here. For more than a decade he worked with the photographs collection at the J. Paul Getty Museum, Los Angeles, and then spent five years leading the photography program at the High Museum of Art, Atlanta. Cox has organized numerous exhibitions on subjects ranging from the dawn of photography’s invention in Europe in the 19th century, to contemporary practice in the United States. 
 



Elliot Bostwick Davis, John Moors Cabot Chair, Art of the Americas, Museum of Fine Arts, Boston

Since 2001, Elliot Bostwick Davis, has been the John Moors Cabot Chair of the Art of the Americas Department at the Museum of Fine Arts, Boston (MFA) overseeing the Museum’s extensive collection of art of the Americas, including one of the world’s pre-eminent collections of American paintings, decorative arts, and sculpture of approximately 15,000 works of art.  Her responsibilities included leading curatorial staff in the planning and reinstallation of the galleries for the new Art of the Americas Wing, opened in 2010, orchestrating important acquisitions and exhibitions, and researching the Art of the Americas collection. Recent exhibitions and installations at the MFA, Boston include: Sargent’s Seven Sisters (2002); Things I Love: The Many Collections of William I. Koch (2005); Sargent, Chase, Cassatt: Master Paintings from a Private Collection (2006); “AMERICA!” (2007), the first major exhibition of 19th-century American painting to appear in Italy; Winslow Homer: American Scenes (2008); John Singer Sargent and Mural Decoration (2009); and Loïs Maillou Jones (2013).  She recently curated the traveling retrospective of Jamie Wyeth’s work, which opened at the MFA, Boston in July of 2014 and subsequently traveled to the Brandywine River Museum of Art, the San Antonio Museum of Art and The Crystal Bridges Museum of American Art, attracting over 271,000 before closing in October of 2015. In 2016, she led a cross-departmental team in the reinstallation of Level Three of the Art of the Americas Wing titled, “Making Modern,” which featured the recent acquisition of Frida Kahlo’s Dos Mujeres (Salvadora y Herminia).
 
Prior to joining MFA Boston, she was at The Metropolitan Museum of Art, Davis where she was responsible for American, British and contemporary art in the Department of Drawings and Prints from 1992 through 1999, curating numerous exhibitions ranging from Winslow Homer (1996) and Mary Cassatt (1998) to W.P.A. Color Prints (1996) and the installations of baseball cards from the Burdick Collection (1993-1999). In 1999, Davis joined the American Paintings and Sculpture Department to complete her curatorial work with the larger team that created Art and the Empire City, the Metropolitan’s landmark exhibition of American Art from the Age of Jackson through the Civil War.  The accompanying catalogue, of which she was a co-author, was selected by the New York Public Library as one of the twenty-five most important books published in the year 2000. Additionally, she has collaborated with Professor John Wilmerding to teach a graduate seminar on American prints at Princeton University, has produced scholarly publications, and has lectured widely on topics ranging from fine to decorative arts.
 
She received her MA, MPhil, and PhD in art history and archaeology from Columbia University, completing her generals in European painting and sculpture before choosing a dissertation topic in American Art. She has also studied extensively at the Arts Students League of New York.  Before attending Columbia, she earned a Masters of Art in liberal studies from New York University and is a cum laude graduate of Princeton University.  She recently completed in February 2017 an intensive, 14-month, online and in person Executive Program in Arts and Culture Strategy offered through National Arts Strategies, including the most recent session of the Senior Management Institute, which was generously supported by the Andrew W. Mellon Foundation.



Sandra Q. Firmin, Director & Chief Curator, Colorado University Art Museum

Sandra Q. Firmin has been Director of the CU Art Museum since2014. Prior, she was curator of the University at Buffalo for over a decade. She holds a MA from Bard College’s Center for Curatorial Studies (2002), and was awarded a Philadelphia Exhibitions Initiative Fellowship at Arcadia University Art Gallery (2003). Firmin co-curated the traveling exhibition Kim Jones: A Retrospective (with Julie Joyce). The exhibition was accompanied by the catalogue “Mudman: The Odyssey of Kim Jones” (MIT Press, 2006), co-edited with Joyce. In 2010, Firmin organized Artpark: 1974–1984, an exhibition and publication (Princeton Architectural Press, 2010) chronicling the seminal years of an innovative residency program located in Lewiston, New York, just north of Niagara Falls. At the UB Art Galleries, Firmin has established an annual residency program in which artists are presented with an empty gallery to transform over time while open to the public. These commissioned projects aim to forge meaningful interactions between artists and diverse groups of people while acknowledging a turn toward research-based site-specific approaches in contemporary art that have at their core experimentation and ephemerality. In 2015, Firmin co-chaired (with Griffith Mann) the Association of Art Museum Curators’ Annual Conference & Meeting held in NYC.



Alison de Lima GreeneIsabel Brown Wilson Curator, Department of Modern & Contemporary Art, The Museum of Fine Arts, Houston

Alison de Lima Greene is the Isabel Brown Wilson Curator, Department of Modern & Contemporary Art at The Museum of Fine Arts, Houston. Before coming to Texas, Ms. Greene worked in the department of European Paintings at The Metropolitan Museum of Art and lectured at The Cooper Union. She graduated cum laude from Vassar College and received her Master’s degree from New York University’s Institute of Fine Arts. Among the recent exhibitions she has organized are REVELATION: Major Paintings by Jules Olitski and James Turrell: The Light Inside. Additionally, she was responsible for the Houston presentation of Picasso Black and White, organizedby the Solomon R. Guggenheim Museum, New York, and Georges Braque: A Retrospective, co-organized by Houston with the RMN-Grand Palais and the Centre Georges Pompidou. Among her MFAH publications are Isamu Noguchi: A Sculpture for Sculpture, the 2006 catalogue profiling the museum’s Cullen Sculpture Garden; she was also one of the contributors to CORE: Artists and Critics in Residence, 2008, and American Art and Philanthropy: Twenty Years of Collecting at the Museum of Fine Arts, Houston, 2010. A 2010 Fellow at the Center for Curatorial Leadership, New York, Ms. Greene has also previously served as a trustee and Vice President of the Association of Art Museum Curators. She is currently a trustee of Gulf Coast: A Journal of Literature and Fine Arts.
 



Michelle Hargrave, Deputy Director, New Britain Museum of American Art

Michelle Hargrave is Deputy Director of the New Britain Museum of American Art. Until March 2017, she was a Curator of Exhibitions at the American Federation of Arts where she worked with internationally renowned collections, institutions, and curators in North America, Europe, Asia, and Australia to develop and implement traveling art exhibitions. She managed all curatorial aspects of domestic and international multi-venue exhibitions, and her projects covered fine arts, design, and decorative arts over the past five hundred years, ranging from Old Master paintings to Export Chinese porcelain to contemporary Aboriginal art to fashion. She also helped the AFA and Nanjing Museum co-organize a U.S.- China exhibition expo and symposium. Prior to joining the AFA in 2011, as associate curator at the Bard Graduate Center in New York City, she worked on exhibitions such as William Kent: Designing Georgian BritainJames Athenian Stuart: the Rediscovery of AntiquityCloisonné: Chinese Enamels from the Yuan, Ming and Qing Dynasties; and Castellani and Italian Archaeological Jewelry. She has an MA from the Bard Graduate Center in the history of decorative arts, design, and culture. In addition, she is involved with a number of professional organizations, including the Association for Art Museum Curators Awards for Excellence Committee, American Friends of Attingham Board, College Art Association, and American Alliance of Museums China Program Steering Committee, a team that plans sessions and activities for Chinese museum professionals at the annual meeting.


Cody Hartley, Senior Director, Collections & Interpretation, Georgia O'Keeffe Museum

As Senior Director, Collections and Interpretation, at the Georgia O’Keeffe Museum, Dr. Cody Hartley leads a division of departments dedicated to preserving and interpreting the collections of the Museum, including curatorial, conservation, education, the library, archives and research center, and historic properties. Since joining the O’Keeffe Museum in 2013, he has overseen a project to catalogue the contents of O’Keeffe’s two homes, prepared numerous exhibitions, and was a key architect behind the record-breaking sale of O’Keeffe’s Jimson Weed for $44.4 million, with the proceeds establishing an acquisitions endowment. Currently the Museum is developing an innovative IMLS-sponsored digital infrastructure to provide collections access and reveal links and relationships between disparate collection types. In the past year, Hartley and his team have supported multiple international exhibitions, including an O’Keeffe retrospective with the Tate Modern and an exhibition pairing O’Keeffe with two leading Australian modernists, in partnership with museums in Melbourne, Sydney, and Brisbane. Previously, Cody worked at the Museum of Fine Arts, Boston, the Sterling and Francine Clark Art Institute in Williamstown, MA, and the Santa Barbara Museum of Art. At the MFA, he served as a curator of American paintings during the installation of new Art of the Americas wing, and then directed the MFA’s Gifts of Art program, facilitating gifts of art and funds to strengthen and expand the collection. Hartley earned his MA and PhD in Art History from the University of California, Santa Barbara, following undergraduate study at the University of Wyoming.



Benjamin M. Hickey, Curator of Collections & Exhibitions, Masur Museum of Art

Benjamin M. Hickey is Curator of Collections and Exhibitions at the Masur Museum of Art. He earned his Master’s degree from the University of California, Riverside. Prior to his tenure at the Masur, he held positions with the Albright-Knox Art Gallery, Canisius College, the Arts Council of Buffalo & Erie County, and the California Museum of Photography. Hickey has organized seventeen exhibitions and coordinated another nine at the Masur. He has worked with many artists including Keliy Anderson-Staley, Harold Cohen, Shayne Dark, Hasan Elahi, Greely Myatt, Alberto Rey, George Rodrigue, Marni Shindelman & Nate Larson, Kate Shannon, Vitus Shell, James Surls, and Douglas Weathersby. Hickey’s publications include “Beneath the Surface,” in Life Streams: Alberto Rey’s Cuban and American Work, from SUNY Press and “Improvisations in Time,” in Improvisations in Time: Eugene J. Martin and the Masur Museum of Art, Masur Museum Press. He currently serves as a Trustee at Large for the Association of Art Museum Curators and sits on the Marketing and Communications Committee. Hickey also sits on the Community Advisory Board of KEDM, an NPR affiliate. His most recent exhibition, Shared Earth: The Ancient Mounds Project, was a collaboration with the photographer Jenny Ellerbe and staff at Poverty Point, a UNESCO World Heritage Site.



Michelle Jacques, Chief Curator, Art Gallery of Greater Victoria

Michelle Jacques is currently the Chief Curator at the Art Gallery of Greater Victoria (AGGV), where she is responsible for guiding a curatorial and education program that links contemporary practices to the Gallery's historical collections and legacies. Since joining the AGGV three years ago, she has co-curated major retrospectives of the work of the Canadian artists Anna Banana, a mail and performance artist, and Jock Macdonald, a modernist painter, as well as a group exhibition of contemporary landscape photography entitled In Another Place, And Here (all 2015).

Prior to moving west, she held various curatorial positions at the Art Gallery of Ontario, ultimately that of Acting Curator, Canadian Art. At the AGO she produced exhibitions of the work of many emerging and mid-career contemporary artists, including Luis Jacob; Kori Newkirk; Shary Boyle and Brian Jungen. Jacques is also an educator who has taught art history, curatorial studies, and art writing at NSCAD University, OCAD University and University of Toronto. Recent and upcoming publications include “There’s nothing new under the sun but there are new suns,” an analysis of the Afrofuturist performance work of Camille Turner in More Caught in the Act: An Anthology of Performance Art by Canadian Women (eds. Johanna Householder and Tanya Mars, YYZ Books, forthcoming fall 2016); Anna Banana: 45 Years of Fooling Around with A. Banana (Art Gallery of Greater Victoria and Figure 1 Publishing); and “Born in Detroit” in Introducing Suzy Lake (ed. Georgiana Uhlyarik, Black Dog Publishing, 2014).
 



Soyoung Lee, Curator, Department of Asian Art, The Metropolitan Museum of Art

Soyoung Lee, Curator in the Department of Asian Art, has been at The Metropolitan Museum of Art since 2003 and is responsible primarily for the Museum’s collection and gallery of Korean art. She has organized critically acclaimed international loan exhibitions such as Silla: Korea’s Golden Kingdom (2013) and Poetry in Clay: Korean Buncheong Ceramics from Leeum, Samsung Museum of Art (2011), each with an accompanying catalogue. Soyoung has also curated focused thematic shows around the Museum’s permanent collection, including Korea: 100 Years of Collecting at The Met, in celebration of the Asian art department’s Centennial in 2015. She is working on a special loan exhibition, scheduled to open in February 2018, on representations of the iconic Mt. Geumgang, or Diamond Mountains. She also currently serves as the Chair of the Museum’s Forum of Curators, Conservators, and Scientists (through June 2017).


Soyoung received her PhD from Columbia University with a dissertation that examined the influence of 15th-16th century Korean ceramics on major ceramic industries in Kyushu, Japan, and the subsequent Japanese reinterpretations and inventions. In fall 2016 she taught a seminar titled “Ceramics Arts of Korea and Japan” at Columbia. She has lived in Jakarta (where she was born), Stockholm, London, Los Angeles, Seoul, and Tokyo, and is fluent in Korean and Japanese. She currently lives in New York City with her husband and two children.
 



C. Griffith Mann, Michel David-Weill Curator in Charge, Department of Medieval Art and the Cloisters, The Metropolitan Museum of Art

Dr. C. Griffith Mann was appointed The Metropolitan Museum of Art’s Michel David-Weill Curator in Charge of the Department of Medieval Art and the Met Cloisters in September 2013. In this role, he is responsible for the medieval collections and curatorial staff in the Met’s main building, and for directing the staff and operations of the Met Cloisters, the branch of the Metropolitan Museum dedicated to the art and architecture of medieval Europe. Dr. Mann received his BA in art history and history from Williams College, and his PhD in medieval art from The Johns Hopkins University. A specialist in the arts of late medieval Italy, he has published on civic patronage, painting, and devotion in Tuscany. As a curator, Dr. Mann has worked on exhibitions on the medieval cult of relics, the art and archaeology of medieval Novgorod, and French manuscript illumination of the 13th century. Dr. Mann formerly served as the Chief Curator and Deputy Director at The Cleveland Museum of Art, where he helped to lead the museum’s reinstallation, acquisition, and exhibition programs, and as medieval curator and Director of the Curatorial Division at The Walters Art Museum, where he worked on exhibitions and the permanent collection. Dr. Mann served as a 2011 Fellow at the Center for Curatorial Leadership and participated in the Getty’s Museum Leadership Institute in 2006. A member of the AAMC since its inception, Dr. Mann has served as co-chair of the Conference Committee for AAMC’s annual meetings in 2015 and 2016.



Elizabeth Morrison, Senior Curator of Manuscripts, J. Paul Getty Museum

Elizabeth Morrison is Senior Curator of Manuscripts at the J. Paul Getty Museum. She received her PhD in the History of Art from Cornell University and began work at the Getty in 1996. During her tenure there, she has curated such exhibitions as The Family in the Middle Ages; Images of Violence in the Medieval World, and Beasts of the Middle Ages. She was also co-curator for the 2010 exhibition Imagining the Past in France, 1250-1500, which was one of three finalists for the College Art Association award for outstanding exhibition catalogue. She has published articles on both Flemish and French illumination, ranging from topics such as the role of the Roman de Troie in thirteenth-century France to the career of the sixteenth-century Flemish illuminator known as the Master of the David Scenes. She has served on the Board of Directors of the International Center of Medieval Art and as a councilor for the Medieval Academy of America.


 E. Carmen Ramos, Curator of Latino Art, Smithsonian American Art Museum

E. Carmen Ramos is Curator of Latino Art at the Smithsonian American Art Museum (SAAM). Since 2010, she has dramatically expanded the Museum's pioneering permanent collection of Latino art with an eye toward capturing the broad aesthetic and regional range of the field.  Her exhibition, Our America: The Latino Presence in American Art (2013) is touring to eight venues and its catalogue received a 2014 co-first prize Award for Excellence by the Association of Art Museum Curators. Before SAAM, Ramos was an assistant curator at the Newark Museum and an independent curator. Her spring 2017 exhibition Down These Mean Streets: Community and Place in Urban Photography, will explore how Latino photographers working since the late 1950s represented the urban crisis as it unfolded in the neighborhoods where they lived and worked. She is also organizing Tamayo: The New York Years, a fall 2017 exhibition that will consider the shape and impact of Mexican artist Rufino Tamayo’s significant New York tenure during the first half of the twentieth century.  In addition to her work at SAAM, Ramos is writing a monograph about Freddy Rodríguez that is part of the A Ver: Revisioning Art History book series.



Peter J. Schertz, Jack & Mary Frable Curator of Ancient Art, Virginia Museum of Fine Arts

Dr. Peter Justin Moon Schertz has served as curator of Ancient Art since October 2006 and the Jack and Mary Ann Frable Curator of Ancient Art since 2007 at the Virginia Museum of Fine Arts, where he developed and supervised the 2010/2011 reinstallation of the ancient Mediterranean collection. He received his PhD in classical art and archaeology in 2004 from the University of Southern California and his BA in classical languages and literature from the University of Chicago in 1987. His specialty is Roman art, with a focus on the intersection of art and culture, particularly art and religion. In his curatorial work, he has spear-headed a number of initiatives that explore how new technologies can help understand and interpret ancient art and how to use technology to engage new audiences with museum collections. His current projects include a study of the original polychromy of the Arch of Titus, the classical echoes of the National World War Two Memorial, and an examination of the Second Temple in Jerusalem in its Roman context. He is currently working with the National Sporting Library and Museum on an exhibition on the horse in ancient Greek art and an exhibition of Egyptian funerary art to open at VMFA in early 2018.



Anne Collins Smith, Curator of Collections, Spelman College Museum of Fine Art

Anne Collins Smith is the Curator of Collections at the Spelman College Museum of Fine Art. She is a cultural curator, art historian, and cultural worker in the literary, visual, and performing arts. Smith received a BA in English and Art History from Spelman College and an MA in Visual Arts Administration at New York University. She served as an intern at the Cinque Gallery, which was founded by artists Romare Bearden, Ernest Crichlow, and Norman Lewis, and the Romare Bearden Fellow at the Saint Louis Art Museum. Smith was the Andrew W. Mellon Curatorial Fellow at the Davis Museum and Cultural Center at Wellesley College where she began to fuse interdicisplinarity with her curatorial practice. At the Davis, she curated the exhibition The Space Between: Artists Engaging Race and Syncretism. Smith’s interests include: arts, the economy, and social uplift; arts leadership; audience development; cosmopolitanism; the evolving role of the curator; material culture; public art; visual culture; and, African Diasporic continuity in artistic and cultural practices. Smith participated in the Art Leaders of Metro Atlanta; Independent Curators International’s Curatorial Intensive; Getty Leadership Institute’s Museum Leaders: The Next Generation; and, Association of Art Museum Curator’s Mentorship programs. Smith recently organized Maren Hassinger…Dreaming (2015) and Howardena Pindell (2015). She is currently participating in the Burnaway Art Writers Mentorship Program. Her curatorial projects in progress include Eye Ten (I10), Real Good Hands, and, Always a Pleasure.
 



Elizabeth Smith, Executive Director, Helen Frankenthaler Foundation

Elizabeth Smith is an art historian who has curated, published, and lectured widely on contemporary art and architecture from the mid-20th century to today. She was named the first Executive Director of the Helen Frankenthaler Foundation in 2013 and was previously Executive Director, Curatorial Affairs at the Art Gallery of Ontario in Toronto; Chief Curator and Deputy Director of Programs at the Museum of Contemporary Art, Chicago; and Curator at The Museum of Contemporary Art, Los Angeles. Smith has curated major monographic exhibitions of artists including Jenny Holzer, Lee Bontecou, Kerry James Marshall, Roberto Matta, and Cindy Sherman and has organized projects with Yael Bartana, Kim Adams, Catherine Opie, Donald Moffett, Uta Barth, Toba Khedoori, and Margaret Honda. Her exhibitions on architecture include Blueprints for Modern Living: History and Legacy of the Case Study Houses, The Architecture of R.M. Schindler, and At the End of the Century: 100 Years of Architecture. Smith is the author of Techno Architecture (2000) and Case Study Houses (2002/2006) and has contributed essays to numerous additional publications. Educated in Art History at Columbia University in New York, Smith has taught in the Public Art Studies program of the School of Fine Arts at the University of Southern California in Los Angeles and at the School of the Art Institute of Chicago. She has received awards and honors from the Getty Foundation, the International Association of Art Critics, the Chicago Tribune, and others. She served on the Board of Trustees of the Graham Foundation for Advanced Studies in the Fine Arts in Chicago and was a 2012 Fellow of the Center for Curatorial Leadership in New York.

 



Ann Yonemura, Senior Associate Curator of Japanese Art, Freer Gallery of Art | Arthur M. Sackler Gallery, Smithsonian Institution

Ann Yonemura is Senior Associate Curator of Japanese Art at the Freer Gallery of Art | the Arthur M. Sackler Gallery, Smithsonian Institution. A native of Berkeley, California, Ann Yonemura received her BA with honors from Wellesley College and did graduate study at Princeton University in Japanese art and archaeology. Following a Fulbright Fellowship for research in Japan, she joined the staff of the Freer Gallery of Art in 1976 and of the Arthur M. Sackler Gallery in 1987.

Although initially specialized in Japanese paintings of the thirteenth to sixteenth century, her research and publications also encompass calligraphy, prints, and lacquer. Her books include, as editor and contributing author: Hokusai (2006); Masterful Illusions: Japanese Prints in the Anne van Biema Collection (2002), Twelve Centuries of Japanese Art from the Imperial Collections (1997) and Ancient Japan (1992); and as author, Yokohama: Prints from Nineteenth-Century Japan (1990) and Japanese Lacquer (1979). Under a grant from the Getty Online Scholarly Catalogue Initiative, she contributed to the design and launch of an innovative research website, The World of the Japanese Illustrated Book.

Ann Yonemura has organized and contributed to more than 50 exhibitions at the Freer and Sackler Galleries, including the international loan exhibition Hokusai (2006). Her recent exhibitions include Bold and Beautiful: Rinpa in Japanese Art (2015); Zen, Tea, and Chinese Art in Medieval Japan (2015); Hand Held: Gerhard Pulverer’s Japanese Illustrated Books (2013); and Hokusai: Thirty-Six Views of Mount Fuji (2012). She joined the AAMC in 2007, and has been a member of the Leadership Circle since 2010.




Emeriti & Ex-Officio Trustees


Elizabeth W. Easton, Co-Founder & Director, Center for Curatorial Leadership; Past President, Trustee Emerita, ex-officio

Since 2007, Elizabeth Easton has been the Director of the Center for Curatorial Leadership (CCL), a not-for-profit organization she co-founded with Agnes Gund to train museum curators in the fundamentals of management and leadership. A distinguished curator, art historian and educator, she formulated the program for CCL as a direct result of her service as the first elected president of the Association of Art Museum Curators (2003-2006), an organization of more than 1200 curators from 350 museums across the United States. In her capacity as president, she launched an inquiry into the professional development of curators that led to the creation of CCL. Easton earned her PhD at Yale University, writing her dissertation on Edouard Vuillard's Interiors of the 1890's. She joined the Brooklyn Museum in 1988 as Assistant Curator, and was Chair of the Department of European Painting and Sculpture from 1999 until 2006. During her tenure, she was responsible for numerous exhibitions, including The Intimate Eye of Edouard VuillardFrederic Bazille: Prophet of ImpressionismMonet and the MediterraneanBrooklyn Collects, among many others. She has written books and numerous articles and essays for exhibition catalogu
es and a variety of art journals; she recently served as lead curator on the exhibition Snapshot: Painters and Photography from Bonnard to Vuillard that opened at the Van Gogh Museum in 2011, and traveled to the Phillips Collection in Washington and the Indianapolis Museum of Art in 2012. Other recent scholarship has focused on original Impressionist frames. Among the many academic honors she has received, she was awarded a Fulbright and two Andrew W. Mellon Fellowships. In recognition of her contributions to French culture, Easton was appointed Chevalier de l’Ordre des Arts et Lettres by the French Government in 2008.She has served as a trustee of the Town School, the Spence School, Studio in a School, the International Foundation for Art Research (IFAR), is on the Visiting Committee of the Department of Paintings Conservation at the Metropolitan Museum of Art, and is on the advisory boards of a number of other cultural institutions.
 


Carol S. Eliel, Curator of Modern & Contemporary Art, Los Angeles County Museum of Art; Past President, Trustee Emerita, ex-officio

Carol S. Eliel, Curator of Modern Art at LACMA, joined the museum’s staff in 1984 and has organized numerous exhibitions in the intervening years, most recently 
David Smith: Cubes and Anarchy (2011). She has since embarked on retrospectives of both John Altoon (2014) and László Moholy-Nagy (the latter co-organized with the Guggenheim and the Art Institute of Chicago, 2016-17) as well as a project with Helen Pashgian (2014).  Other shows Carol has organized include SoCal: Southern California Art of the1960s and 70s from LACMA’s Collection (2007), L’Esprit Nouveau: Purism in Paris, 1918–1925 (2001), Annette Messager (1995), and TheApocalyptic Landscapes of Ludwig Meidner (1989). She is also actively involved with acquisitions for the museum. She received her BA from Yale University and her MA and PhD from the Institute of Fine Arts, New York University. In 1999 the French government named Carol a Chevalier de l’Ordre des Arts et des Lettres for her dedication to presenting the works of French artists to the American public. In addition to her work at LACMA, she has lectured across the United States, has written on a wide variety of subjects ranging from eighteenth-century French painting to cutting-edge contemporary art, and is immediate past president and lifetime trustee of the Association of Art Museum Curators.



Helen C. Evans,Mary & Michael Jaharis Curator for Byzantine Art, The Department of Medieval Art & The Cloisters, The Metropolitan Museum of Art; Past President, Trustee Emerita, ex-officio

Helen Evans is the Mary and Michael Jaharis Curator for Byzantine Art, The Metropolitan Museum of Art, in charge of the Early Christian and Byzantine collections. She graduated with distinction from Newcomb College of Tulane University and received my MA and PhD from the Institute of Fine Arts, New York University. After joining The Metropolitan Museum of Art in 1991, she conceived and installed the Museum’s Mary and Michael Jaharis Galleries of Byzantine Art in 2000, the first permanent galleries for Byzantine art in a major international museum, and their further expansion in 2008. Her three major Byzantine exhibitions have been: The Glory of Byzantium (1997), Byzantium: Faith and Power (2004) and Byzantium and Islam: Age of Transition (2012). Byzantium: Faith and Power won both the Alfred H. Barr, Jr. Award for best catalogue from the College Art Association and the Art Libraries Society of North America (ARLIS/NA), George Wittenborn Memorial Book Award. Byzantium and Islam won the Iranian Ministry of Culture’s World Book Award as an outstanding new book in Islamic Studies. Evans also organized The Philippe de Montebello Years: Curators Celebrate Three Decades of Collecting in honor of the director’s retirement (2009). All were declared major exhibitions of their year by The New York Times, The Wall Street Journal, and/or Apollo Magazine. Her most recent small exhibition is Coptic Art, Dikran Kelekian, and Milton Avery. Evans has taught at Columbia University, The Institute of Fine Arts, New York University, the University of Chicago, Hunter College, the City University of New York, and Oberlin College. Among her recent articles is “Mimesis” for the Art Bulletin; her most recent lecture was “Lillie P. Bliss as a Patron of Byzantine Art” for the International Medieval Congress. In addition to being president of the AAMC, Evans is vice-president of the International Center for Medieval Art; chairman of the board of The Mary Jaharis Center for Byzantine Art and Culture, Hellenic College, Brookline, MA; and a member of the Board of Directors of the American Associates of the Monastery of St. Catherine Foundation. She advised on museum projects in Bulgaria (U.S. State Department) and The Republic of Georgia (UNESCO). She has been chair of the Editorial Board of the Art Bulletin; and chair of the Forum of Curators, Conservators and Research Scientists of The Metropolitan Museum of Art. 

 


 

Emily Ballew Neff, Executive Director, Memphis Brooks Museum of Art; Past President, Trustee Emerita, ex-officio


Emily Ballew Neff, PhD is the Executive Director of the Memphis Brooks Museum of Art. For nearly two decades she served as the first Curator of American Painting and Sculpture at The Museum of Fine Arts, Houston, where she established a significant presence for the museum in the field of American art, growing the museum’s collections by more than 30 percent, organizing more than 20 exhibitions at the museum and coordinating 14 traveling exhibitions from other institutions.

Neff organized several major exhibitions while in Houston including the award-winning American Adversaries: West and Copley in a Transatlantic World, which received praise for its innovative approach to exhibiting colonial American art in a global context, and The Modern West: American Landscapes, 1890-1950, a show of more than 100 paintings and photographs that examined the relationship between the American West and modernism. Before her appointment at the Memphis Brooks, Neff served as the Director and Chief Curator of the Fred Jones Jr. Museum of Art at the University of Oklahoma. Neff holds a BA from Yale University, an MA from Rice University, and a PhD from the University of Texas at Austin. Neff is a recent Fellow of the Center for Curatorial Leadership (CCL) in New York City, and currently serves on the Advisory Board of the Smithsonian’s American Art (journal) and the Clyfford Still Museum.

 

 

 

 

 

 

 

 

 

 

Judith Pineiro,Executive Director, AAMC & AAMC Foundation; ex-officio

Since 2014, Judith Pineiro has been the Executive Director of the Association of Art Museum Curators & AAMC Foundation.  Other senior level roles include being an External Affairs Consultant for clients such as Art in General, The Laundromat Project, and Louise Blouin Media; Director, Affordable Art Fair U.S.; Associate Development Director for Institutional Advancement, Museum of Arts & Design; Account Manager for Museum Services, Christie’s; and positions galleries in New York and Los Angeles.
  
She is a Board Member at the New York Artists Equity Association.  Recent and upcoming speaking engagements include the Association of African American Museums Conference and the Museum Computer Network Conference.  She has served as a juror for the National Arts Education Association Member Exhibition, visual arts re-grant panelist at the Brooklyn Arts Council and as a member of the Professional Development Committee and Membership Committee at ArtTable.   Judith received an M.A. in Art History from Rutgers University.

 


John RavenalExecutive Director, deCordova Sculpture Park & Museum; Past President, Trustee Emeritus, ex-officio

John B. Ravenal is Executive Director of the deCordova Sculpture Park and Museum. He recently organized Xu Bing: Tobacco Project and Sally Mann: The Flesh and The Spirit. Other recent projects include outdoor sculpture by Jun Kaneko, a survey of work by Chuck Close, and exhibitions by Ryan McGinness, Tristin Lowe, Diana Al-Hadid, and Sean Scully. John earned his MA and MPhil in Art History from Columbia University. He served as president of the Association of Art Museum Curators from 2009-11 and was a 2012 fellow at the Center for Curatorial Leadership.



George T.M. Shackelford, Deputy Director, Kimbell Art Museum; Past President, Trustee Emeritus, ex-officio

George Shackelford is Deputy Director of the Kimbell Art Museum in Fort Worth, Texas, which he joined in January, 2012. Prior to his appointment at the Kimbell, George was chair of the department of the Art of Europe and Solomon Curator of Modern Art at the Museum of Fine Arts, Boston, which he joined in January, 1996, as curator of European paintings. From 1894-1996, George was Curator of European Painting and Sculpture at the Museum of Fine Arts, Houston. After graduation from Dartmouth College in 1977, he received the PhD from Yale University in 1986. Shackelford has organized many exhibitions, with a concentration on the late nineteenth century. Among his projects 
are Degas: The Dancers, for the National Gallery of Art, and Degas Landscapes and A Gift to America: Masterpieces of European Painting from the Samuel H. Kress Collection for the MFA, Houston. At the MFA, Boston, he co-curated such shows as Monet in the 20th Century, Mary Cassatt: Modern Woman, Van Gogh: Face to Face, Impressionist Still Life, Gauguin Tahiti, and Degas and the Nude. Shackelford was named a David E. Finley Fellow of the Center for Advanced Study in the Visual Arts of the National Gallery of Art, Washington DC (1980–83), and has lectured in museums and at universities throughout the United States and Europe. He served as a member of the Arts and Artifacts Advisory Panel to the Federal Council on the Arts and the Humanities (United States Indemnity Program), from 1993–96, and was panel Chair in 1995 and 1996. In 2005 he was elected a Chevalier de l’Ordre des Arts et des Lettre by the Republic of France. From 2006 to 2010, he served as President of the Association of Art Museum Curators. He is currently at work on planning the opening of a major new building for the Kimbell Art Museum, designed by Renzo Piano to complement the museum’s landmark 1972 building by the master architect Louis I. Kahn.



Gary Tinterow, Director, Museum of Fine Arts, Houston; Past President, Trustee Emeritus, ex-officio
 
Garry Tinterow received his undergraduate degree from Brandeis University then studied art history and museum studies at Harvard University. A curator at The Metropolitan Museum of Art from 1983 until his appointment as director of the Museum of Fine Arts, Houston, in 2011, he has organized dozens of exhibitions, accompanied by significant publications, many of which were mounted in collaboration with, and traveled to, museums around the world. They include  Degas (1988); Origins of Impressionism  (1994); Portraits by Ingres: Image of an Epoch (1999); Manet/Velázquez: The French Taste for Spanish Painting (2004); Francis Bacon: A Retrospective (2009); and Picasso in the Metropolitan Museum of Art (2010). Mr. Tinterow directed the renovation and reinstallation of the Metropolitan’s Nineteenth-Century European Painting and Sculpture Galleries, which opened in 1993, as well as the gallery expansion completed in 2007 that allowed the museum to display oil sketches and paintings by Northern European artists alongside its legendary collection of French Impressionist and Post-Impressionist painting. For his service to French culture he has been made an Officier of the Ordre des Arts et Lettres and a Chevalier of the Légion d’honneur. From 1998 to 2001, Mr. Tinterow was instrumental in the creation of the Association of Art Museum Curators (AAMC). He was the first president of the AAMC and continues to serve as an ex-officio trustee of the organization. 


Staff

Judith Pineiro
Executive Director
judith.pineiro@artcurators.org

Since 2014, Judith Pineiro has been the Executive Director of the Association of Art Museum Curators & AAMC Foundation.  Other senior level roles include being an External Affairs Consultant for clients such as Art in General, The Laundromat Project, and Louise Blouin Media; Director, Affordable Art Fair U.S.; Associate Development Director for Institutional Advancement, Museum of Arts & Design; Account Manager for Museum Services, Christie’s; and positions galleries in New York and Los Angeles.
  
She is a Board Member at the New York Artists Equity Association. 
Recent and upcoming speaking engagements include the Association of African American Museums Conference and the Museum Computer Network Conference. She has served as a juror for the National Arts Education Association Member Exhibition, visual arts re-grant panelist at the Brooklyn Arts Council and as a member of the Professional Development Committee and Membership Committee at ArtTable. Judith received an M.A. in Art History from Rutgers University


Hannah Teskey
Program Manager
h.teskey@artcurators.org

 

Ginny Duncan
Assistant
g.duncan@artcurators.org



Committees & Task Forces

The seven active Committees and two Task Forces rely on the committed participation of members to achieve the AAMC's mission and strategic goals for the year. The AAMC President appoints Committee chairs in consultation with the Executive Director and the Executive Committee. Once selected, the Committee chairs recruit committee members who possess an area of expertise appropriate to the focus of the committee's work. The Executive Committee and the Finance, Fundraising and Audit Committee are staffed by the Board of Trustees whereas the following six are drawn from the full membership of the AAMC.


Additionally, ad hoc committees can be created by the Executive Committee and/or Board of Directors in order to oversee a special project that has a specific timeline. Committees are instrumental to AAMC governance and growth of ideas. They manage ongoing projects and may introduce initiatives that will strengthen the position of the AAMC. The board is, however, the final supervisor of each committee’s activities.


List of Committees & Task Forces
Click on committee names below to learn more



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