Print Page   |   Sign In   |   Join Now
Share |

Board of Trustees                                                 Staff                                                      Committees 


AAMC Board of Trustees



AAMC Board of Trustees



Executive Committee

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

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.

Michelle Jacques, Chief Curator, Art Gallery of Greater VictoriaVice President, Inclusion & Outreach

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, 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).


Marianne Lamonaca, Associate Gallery Director and Chief Curator, Bard Graduate Center, President, Board of Trustees

Marianne Lamonaca is Chief Curator and Associate Gallery Director at Bard Graduate Center, New York. She also served as associate director for curatorial affairs and education at The Wolfsonian-Florida International University, Miami Beach, and assistant curator of decorative arts at the Brooklyn Museum. She has published on twentieth-century decorative arts and design, with a focus on Italy, and has taught courses in decorative arts, design history, and curatorial practice. She is a graduate of Parsons The New School for Design/Cooper-Hewitt Museum's MA program in the history of decorative arts and of Sarah Lawrence College, and a fellow of the American Academy of Rome. 

  Soyoung Lee, Chief Curator, Harvard Art Museums; Vice President, Finance & Audit

Soyoung Lee holds the role of Chief Curator at The Harvard Art Museums. Directly prior, she was a Curator in the Department of Asian Art at The Metropolitan Museum of Art, where she was 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.

  Mary-Kate O’Hare, Vice President, Advisor, Modern & Contemporary Art, Art Advisory & Finance, Citi Private Bank; Vice President, Fundraising

Mary-Kate O’Hare specializes in U.S. and Latin American modern and contemporary art. In 2013 she joined Citi Private Bank’s Art Advisory & Finance as Vice President and Advisor, Modern & Contemporary Art.  Prior to joining Citi, Mary-Kate was Curator of American Art at the Newark Museum for thirteen years where she organized many critically lauded exhibitions including Constructive Spirit: Abstract Art in South and North America, 1920s-50s (2010); At the Movies: Edward Hopper’s The Sheridan Theatre (2007); and co-curated Off the Pedestal: New Women in the Art of Homer, Sargent and Chase (2006). The International Association of Art Critics (AICA-USA) honored her work for Constructive Spirit with a second place award for "Best Thematic Museum Show Nationally." Mary-Kate earned a Ph.D. in art history from Rutgers, writing her dissertation on issues of masculinity in the work of John Singer Sargent. In 2010 she was the recipient of the Clinton Hill/Allen Tran Foundation Curatorial Innovation Grant and in 2011 held a fellowship at the Clark Art Institute, where her research focused on an exhibition exploring mid-20th century Brazilian art, music, architecture and design. She has taught art history surveys and advanced seminars at Rutgers University and William Patterson University and is a regular guest speaker at Christie’s Education.

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

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.


Trustees At Large

  Sharon Matt Atkins, Director of Exhibitions & Strategic Initiatives, Brooklyn Museum

Sharon Matt Atkins is Director of Exhibitions & Strategic Initiatives 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, in 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. 
Daniel Belasco, Executive Director, Al Held Foundation

Daniel Belasco is a curator and art historian, and the Executive Director of the Al Held Foundation. He previously served as Curator of Exhibitions and Programs at the Samuel Dorsky Museum of Art at SUNY New Paltz and Henry J. Leir Associate Curator of The Jewish Museum. In 2010 Belasco co-curated (with Sarah Lewis) The Dissolve: SITE Santa Fe’s Eighth International Biennial. A specialist in postwar and contemporary art, he has written for Art in America and other publications. Belasco holds a PhD from the Institute of Fine Arts, NYU and has taught contemporary art and museum studies at SUNY New Paltz and the Jewish Theological Seminary.
  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.
 Beth Citron, Independent Curator

Beth Citron is a New York-based curator and art historian. A 2019 recipient of an Asian Cultural Council Fellowship for research on a curatorial history of modernist art from India, she was the founding Curator of Modern and Contemporary Art at the Rubin Museum of Art until October 2019. Her exhibitions at the Rubin include Shahidul Alam: Truth to Power (November 2019), Chitra Ganesh (2018), A Lost Future: Shezad Dawood / The Otolith Group / Matti Braun (2018), Henri Cartier-Bresson: India in Full Frame (2017), Francesco Clemente: Inspired by India (2014), Witness at a Crossroads: Photographer Marc Riboud in Asia (2014), and the three-part series on Modernist Art from India (2011-13). As an advisor and guest curator for the Dhaka Art Summit, she advised an exhibition on modernist art across South Asia (2016) and co-organized a live program of artists' performance lectures (2018).

Citron has also contributed essays to numerous catalogs about South Asian art for exhibitions in the United States and Asia and articles to peer-reviewed and critical journals such as Art Journal and ArtForum. She holds a PhD in Art History from the University of Pennsylvania, and has taught in the Art History Department at New York University, from which she also earned a BA in Fine Arts.
 Jane Cohan, Partner, James Cohan

Jane Cohan is a partner in James Cohan, an international contemporary art gallery with two locations in NYC, in the TriBeca and the Lower East sides art districts. At the gallery, Cohan works closely with artists, curators and collectors and with her training as an industrial designer she does project management for large-scale public art installations for gallery artists.

Cohan is a board member of two New York-based organizations: Prospect Park Alliance, which manages Prospect Park in Brooklyn and African Services Committee, which provides assistance to immigrants to the United States. She is a member of the Art Dealers Association of America along with her husband, James Cohan.
 José Carlos Diaz, Chief Curator, The Andy Warhol Museum

José Carlos Diaz is Chief Curator at The Warhol and was a 2018 fellow at the Center for Curatorial Leadership. At the Warhol he has curated Farhad Moshiri: Go West and is currently preparing Andy Warhol: Revelation. Diaz is also planning Fantasy America and organizing the first-ever Warhol survey in Kyoto. Prior to this, Diaz was the Curator of Exhibitions at the Bass Museum in Miami Beach. Diaz has worked at Tate Liverpool and at the Liverpool Biennal. Diaz received a MA in Cultural History from the University of Liverpool, and a BA in Art History from San Francisco State University.

Catherine L. Futter, Senior Curator of Decorative Arts, Brooklyn Museum

Catherine L. Futter is the Senior Curator of Decorative Arts at the Brooklyn Museum. Prior to the Brooklyn Museum, Catherine was the Director of Curatorial Affairs at The Nelson-Atkins Museum of Art. While at the Nelson-Atkins, Catherine oversaw 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 was also the project manager for the museum’s cultural district project and a member of the museum’s Strategic Leadership Group. Prior to the Nelson-Atkins, Catherine was at the Minneapolis Institute of Arts and the Chrysler Museum of Art. 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.

  Benjamin M. Hickey,Curator of Exhibitions, Paul and Lulu Hilliard University Art Museum

Benjamin M. Hickey is Curator of Exhibitions at the Paul and Lulu Hilliard University Art Museum, University of Louisiana at Lafayette. He earned his Master’s degree from the University of California, Riverside. Prior to his tenure at the Paul and Lulu Hilliard University Art Museum, he held positions with the Masur Museum of Art, 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. 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.
  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.

Jen Mergel, Independent Curator

Jen Mergel has organized more than 50 exhibitions with contemporary art and artists for museum and academic communities and the public realm. In 2018, Mergel was The Armory Show Curator of Platform and presented fifteen site-responsive artist commissions and installations under the theme The Contingent; in Boston, she organized the citywide public art exhibition, Fog x FLO: Fujiko Nakaya on the Emerald Necklace. She is now researching the public works of Nancy Spero. From 2010-2017, Mergel served as the Beal Family Senior Curator of Contemporary Art at the Museum of Fine Arts, Boston, where she was also the Interim Chair of the Linde Family Wing for Contemporary Art. Her presentations included the touring exhibition Permission to be Global/Prácticas Globales; the U.S. museum debut Lee Mingwei: Sonic Blossom; and Darkness Made Visible: Derek Jarman and Mark Bradford. Previously at Boston’s Institute of Contemporary Art from 2005-2010, Mergel organized Tara Donovan and Charles LeDray: workworkworkworkwork and thematic shows including Acting Out: Social Experiments in Video. Prior curatorial projects include those at the Addison Gallery of American Art, Phillips Academy Andover, the Hessel Museum of Art, Bard College, the Tang Teaching Museum and Art Gallery, Skidmore College, and the 2004 Whitney Biennial. Mergel graduated summa cum laude in Visual and Environmental Studies from Harvard University, received her M.A. from Bard’s Center for Curatorial Studies, and is a 2017 Fellow of the Center for Curatorial Leadership. She is Founding Director of the Curatorial Network Accelerator of Boston, a co-mentorship program that fosters citywide partnerships to expand audience and cultural equity.

  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 AgesImages 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.
 Emily Kernan Rafferty, President Emerita, The Metropolitan Museum of Art

Emily Rafferty, President Emerita of The Metropolitan Museum of Art, served for 40 years at the Museum as chief of institutional advancement, Senior Vice President of External Affairs, and as President from 2005 to 2015. Ms. Rafferty served as a Board member of the New York Federal Reserve Bank, 2011 – 2017, and Senior Adviser for UNESCO, 2015 – 2017. She serves as Chair of NYC & Company, and is a Board member of the following: National September 11 Memorial & Museum (Vice Chair); PJT Partners; Koç Holdings, Istanbul; Carnegie Hall; Hispanic Society Museum & Library. She also consults for many organizations in the non-profit sector.
  E. Carmen Ramos, Deputy Chief Curator and Curator of Latino Art, Smithsonian American Art Museum

E. Carmen Ramos is Deputy Chief Curator and 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 2017 exhibition Down These Mean Streets: Community and Place in Urban Photography, explored how Latino photographers working since the late 1950s represented the urban crisis as it unfolded in the neighborhoods where they lived and worked. She also organized Tamayo: The New York Years, in 2017, an exhibition that considered 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.

  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.

  Juliet Sorce, Senior Vice President, Resnicow and Associates

 As a Senior Vice President at Resnicow and Associates, Juliet Sorce has more than a decade of experience spearheading strategic communications programs for an international roster of clients across the visual arts, architecture, and design.

Sorce has expertise in modern and contemporary art in particular and has directed institutional communications programs for museums, non-profit art foundations, and fairs, including Park Avenue Armory, Thyssen-Bornemisza Art Contemporary (TBA21), The Metropolitan Museum of Art, the Institute of Contemporary Art in Philadelphia, and the Museum of Arts and Design, among others. Sorce has worked with clients to help launch new cultural enterprises from the ground up, including the recently opened ICA Miami, The Met Breuer, the Clyfford Still Museum in Denver, and the Center for Italian Modern Art in New York. She has also led media relations and strategic planning for a number of new building and expansion projects, working on behalf of both architects and cultural institutions alike, including The Frick Collection's upgrade and expansion by Selldorf Architects, the opening of Canada’s National Music Centre by Allied Works Architecture, Park Avenue Armory’s revitalization and renovation project by Herzog & de Meuron, and the Israel Museum’s campus renewal by James Carpenter Design Associates, among others.
  Ann Yonemura, Curator Emertus, Freer Gallery of Art | Arthur M. Sackler Gallery, Smithsonian Institution 

Ann Yonemura was, directly before her retirement in 2018, 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
  Christa Clarke, Independent Curator and Affiliate, Hutchins Center for African & African American Research, Harvard University; Past President, Trustee Emerita, ex-officio

Christa Clarke is an independent curator and an affiliate of Harvard’s Hutchins Center for African & African American Research. Previously, she was Senior Curator, Arts of Global Africa at the Newark Museum, where she organized exhibitions on topics ranging from men’s fashion to Nigerian modernism and stewarded hundreds of acquisitions, including major site-specific commissions by Yinka Shonibare, Odili Odita and Simone Leigh. Her publications include: Representing Africa in American Art Museums: A Century of Collecting and Display (with Kathleen Berzock; 2010); African Art in the Barnes Foundation (2015), which received the David C. Driskell Book Award for African American Art History and the AAMC’s Award for Excellence in 2016; and Arts of Global Africa: The Newark Museum Collection (2018). A 2012 Center for Curatorial Leadership Fellow, Christa has also held fellowships at the Smithsonian, Metropolitan Museum of Art, Clark Art Institute, and teaching appointments at NYU Abu Dhabi, University of Pennsylvania, George Washington University, and Rutgers University. In the fall of 2019, she will be a Curatorial Fellow at the Clark Art Institute.

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.

  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 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, Senior Curator of Modern Art, Los Angeles County Museum of Art; Past President, Trustee Emerita, ex-officio

Carol S. Eliel, Senior 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 TimesThe 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 Ravenal, Executive 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 MuseumPast 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 CenturyMary Cassatt: Modern WomanVan Gogh: Face to FaceImpressionist 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. 




Judith Pineiro, Executive Director

Judith Pineiro, Executive Director of the Association of Art Museum Curators (AAMC) & AAMC Foundation, has been in the visual arts sector for nearly 30 years.  A recognized strategic leader capable of delivering a vision, Pineiro has a proven track record of building and strengthening organizations propelling them forward.  Dedicated to ensuring an inclusive and valued arts community, she believes our art organizations should reflect and respect the communities they serve.  Joining AAMC & AAMC Foundation in 2014, she has quadrupled funding and programming, as well as raised the organization’s mission driven profile.  Directly prior, she was an External Affairs consultant for cultural sector clients.  Additional senior level roles include Director, Affordable Art Fair U.S.; Associate Development Director, Institutional Advancement, Museum of Arts and Design; and Account Manager, Museum Services, Christie’s. She began her career in galleries in New York and Los Angeles. 

Pineiro also volunteers within the arts, serving as Vice President, Communication on the Executive Committee of the Board of Trustees at ArtTable, and as a Board member is also on the Finance Committee.  She is a former Board member at New York Artists Equity Association, mentor in the Diversity in Arts Leadership program of the Arts & Business Council, Americans for the Arts, and  juror for the National Arts Education Association and Brooklyn Arts Council.  She has also had speaking engagements with the American Alliance of Museums, Association of African American Museums, Association of Art Museum Curators, Museum Computer Network, POWArts and Young Professionals in the Arts/New York Foundation of the Arts.

Judith received an MA in art history, Certificate in curatorial studies, BA in art history and BA in journalism/mass media all from Rutgers University.  A native of New Jersey, Judith currently resides in DUMBO, Brooklyn with her husband and dachshund.


Monica Valenzuela, Program Manager

Monica Valenzuela is the Program Manager at the Association of Art Museum Curators & AAMC Foundation. A New York native, Monica is an arts administrator, community organizer, and freelance photographer who specializes in storytelling, project management, fundraising, business development, and lifestyle portraiture. She received her BA in Art History and Religion from Vassar College and is dedicated to developing and documenting meaningful, sustainable, creative projects that foster learning, dialogue, and help push art into the public sphere. Notable creative projects in her portfolio include LUMEN, a video art and performance art festival on Staten Island’s waterfront and Future Culture, a neighborhood-based cultural planning process with specific design and programming strategies, developed in partnership with Design Trust for Public Space. Monica is a member of the Naturally Occurring Cultural Districts of New York working group and currently lives in Gowanus, Brooklyn with her partner and rescue cat.





Click on committee names below to learn more

Association Management Software Powered by YourMembership  ::  Legal