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      AAMC & AAMC Foundation

Board of Trustees & Staff
(as of May 15, 2016)


Sharon Matt Atkins, Vice Director of Exhibitions and Collection Management, Brooklyn Museum

Sharon Matt Atkins is Vice Director, Exhibitions and Collections Management, 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.

Paola Antonelli
, Senior Curator, Architecture and Design, and Director, Research and 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.

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

Graham C. Boettcher is Deputy Director and 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 B.A. and Ph.D. from Yale University, and an M.A. from the University of Washington in his home state. He has served as a trustee of the Association of Art Museum Curators since 2010.

Julian Cox, Chief Curator and 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.  

Helen C. Evans
, President, Mary and Michael Jaharis Curator for Byzantine Art, The Department of Medieval Art and The Cloisters, The Metropolitan Museum of Art

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 M.A. and Ph.D. 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. 

Sandra Q. Firmin, Director and 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 M.A. 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. Firmin recently co-chaired (with Griffith Mann) the Association of Art Museum Curators’ annual conference held in NYC.

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

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 is 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, Art Institute of Chicago
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 The Last Harvest: The Art of Rabindranath Tagore (2012), Zarina: Paper Like Skin (2013), Nilima Sheikh: Each Night Put Kashmir in Your Dreams (2014), and Gates of the Lord: The Tradition of Krishna Paintings (September 13, 2015 through January 3, 2016). Her forthcoming exhibition, Vanishing Beauty: Asian Jewelry and Ritual Objects from the Barbara and David Kipper Collection opens in June 2016.
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
, Curator of Exhibitions, American Federation of the Arts

Michelle Hargrave is a Curator of Exhibitions at the American Federation of Arts where she works with internationally renowned collections, institutions, and curators in North America, Europe, Asia, and Australia to develop and implement traveling art exhibitions. She manages all curatorial aspects of domestic and international multi-venue exhibitions, and her current projects cover 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 is also helping 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 M.A. 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 Prize 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.

Lynda Roscoe Hartigan, The James B. and Mary Lou Hawkes Chief Curator, Peabody Essex Museum

Since 2003, Hartigan has led an innovative, ambitious and award-winning curatorial and exhibition program at the Peabody Essex Museum, where she also oversees the museum’s publishing, exhibition design, registration, collection management and conservation departments, as well as the museum’s visiting committees. Hartigan’s expertise in American art, especially in modern, folk and outsider, and African American art, have yielded numerous widely recognized exhibitions and publications. The leading scholar on American artist Joseph Cornell, she curated the traveling retrospective, Joseph Cornell: Navigating the Imagination, co-organized by the Peabody Essex Museum and the Smithsonian American Art Museum, and wrote the companion book (Yale University Press, 2007). Prior to joining PEM, Hartigan was Chief Curator of the Smithsonian American Art Museum (SAAM) in Washington, D.C., where she built the internationally recognized collections of American folk art and African American art and led a major acquisitions initiative for modern and contemporary art. She is also the founding curator of SAAM's Joseph Cornell Study Center. Hartigan is a graduate of the Claremont Graduate University/Getty Leadership Institute and is a member of the Institute's 2000 class. Currently, she is a board member of the Association of Art Museum Curators (AAMC).

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 17 exhibitions and coordinated another 9 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 Associationof 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).


C. Griffith Mann, Michael 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.

Jen Mergel, Vice President, Programs, Robert L. Beal, Enid L. Beal and Bruce A. Beal Senior Curator of Contemporary Art, Museum of Fine Arts, Boston

As the MFA’s Beal Family Senior Curator since 2010, Mergel organized the 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 pursues cultural partnerships nationally and internationally, while also focusing on the Museum’s connections to artists in Boston. She has 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 has 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 Museum’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 M.A. 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.

Marina Pacini
, Chief Curator, Memphis Brooks Museum

Marina Pacini is Chief Curator and Curator of American, Modern, and Contemporary Art at the Memphis Brooks Museum of Art. Among Ms. Pacini’s projects organized for the museum are Photographs from the Memphis World, 1949-1964 (and catalogue); Stonework: William Edmondson; Greely Myatt: and exactly Twenty Years; A Sense of Place: The Art of William Christenberry; and John Salvest: Consumo Ergo Sum. Her current project is Marisol: Sculptures and Works on Paper, which will open at the Brooks in June of 2014 and is accompanied by a catalogue co-published by Yale University Press.



Carolyn Putney, Retired Chief Curator & Curator of Asian Art, Toledo Museum of Art

Carolyn Putney has recently retired from the Toledo Museum of Art where she held a number of positions since 1978 after completing graduate work at Florida State University. She retired as Chief Curator and Curator of Asian Art in 2015, a position she held for more than 12 years. She served as Interim Deputy Director in 2009. While at the Toledo Museum, Carolyn has overseen many permanent collection reinstallation projects, and curated exhibitions on Asian art, including the most recent, Fresh Impressions, Early Modern Japanese Prints, and the accompanying award-winning catalog of the museum’s extensive modern Japanese print collection. She continues to serve as a research professor at the University of Toledo from 1979 to the present, teaching Asian art history for the art history department. She was honored to attend the Getty Leadership Institute in 2008 and received a Milestones Award from the YWCA in 2013. She has served as a trustee of the Association of Art Museum Curators since 2011.


Peter J. Schertz, Jack and 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.

Elizabeth Smith, Executive Director, The 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 City, 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.

Georgiana Uhlyarik, Vice President, Governance, Associate Curator, Canadian Art, Art Gallery of Ontario

Georgiana Uhlyarik is Associate Curator of Canadian Art at the Art Gallery of Ontario, Toronto. Her recent curatorial projects include Introducing Suzy Lake; The Passion of Kathleen Munn; Betty Goodwin: Work Notes; and Michael Snow: Objects of Vision. Working with the Pinacoteca do Estado de São Paulo, Brazil, and the Terra Foundation for American Art, she is co-curator of the touring exhibition Picturing the Americas: Landscape Painting from Tierra del Fuego to the Arctic, and co-editor of the accompanying publication. Uhlyarik is the editor of Introducing Suzy Lake (Black Dog Publishing, 2014), author of Kathleen Munn: Life & Work (Art Canada Institute, 2014), contributor to Barbara Astman: I as Artifact (University of Western Ontario, 2014), among other publications. Uhlyarik is Adjunct faculty in the Graduate Program, Art History, York University, Toronto. Uhlyarik has served as Chair of the AAMC Prize Committee (2011-2013) and as trustee since 2013. Originally from Romania, she lives in Toronto with her twin sons.

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

Ann Yonemura is Senior Associate Curator of Japanese Art at the Freer Gallery of Art and the Arthur M. Sackler Gallery. 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 Trustees, ex-officio

Elizabeth W. EastonTrustee Emerita, Past President 2003-2006, Co-Founder and Director, Center for Curatorial Leadership 

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 Ph.D. 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 Vuillard; Frederic Bazille: Prophet of Impressionism; Monet and the Mediterranean; Brooklyn Collects, among many others. She has written books and numerous articles and essays for exhibition catalogues 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
Trustee Emeritca, Past President 2011 - 2013Curator of Modern and Contemporary Art, Los Angeles County Museum of Art

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 the 1960s and 70s from LACMA’s Collection (2007), L’Esprit Nouveau: Purism in Paris, 1918–1925 (2001), Annette Messager (1995), and The Apocalyptic 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.

Emily Ballew Neff, Trustee Emerita, Past President 2013 - 2015, Executive Director, Memphis Brooks Museum of Art

Emily Ballew Neff, Ph.D. is the President of the Association of Art Museum Curators (AAMC) and 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 recent 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 B.A. from Yale University, an M.A. from Rice University, and a Ph.D. 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. 

John Ravenal
Executive Director, deCordova Sculpture Park and Museum

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
Trustee Emeritus, Past President 2006-2009, Deputy Director, Kimbell Art Museum

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 Ph.D. 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 suchshows 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, D.C. (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 of the Order of Arts and Letters 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
Trustee Emeritus, Past President 2001-2003, Director, Museum of Fine Arts, Houston

Gary 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 a trustee of the organization.

AAMC Staff

Judith Pineiro, Executive Director, AAMC & AAMC Foundation, ex-officio
Judith Pineiro joined the Association of Art Museum Curators (AAMC) as Executive Director in January 2014. Since 2012, she had been an External Affairs consultant for global clients, such as Art in General, Louise Blouin Media, The Laundromat Project, Museum of Arts and Design and ArtforMe/Cape Town.

Before starting her independent consulting work, Judith was Director - Affordable Art Fair U.S.; Associate Development Director, Institutional Advancement at the Museum of Arts and Design (MAD); and Account Manager - Museum Services Department at Christie’s. She began her career in the decorative arts field at galleries in New York and Los Angeles. 

Judith holds an M.A. in Art History with a certificate in Curatorial Studies; B.A. in Art History; and B.A. in Journalism/Mass Media;  all from Rutgers, The State University of New Jersey.  She is a member of the American Alliance of Museums, ArtTable, Council of Protocol Executives, and Women in Development.  Judith also has served as a visual arts re-grant panelist for two years with the Brooklyn Arts Council, and currently serves on ArtTable’s Professional Development and Membership Committees.

Meredith Dean, Administrator, AAMC & AAMC Foundation
Before joining the Association of Art Museum Curators in February 2014, Meredith Dean worked in various positions and internships. She graduated in December 2012 from La Salle University Magna Cum Laude with a B.A. in Art History and minor in Italian. 



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