2010

  • 2010 Panelists

    Darsie Alexander is chief curator at the Walker Art Center, where she supervises the curatorial programs for visual arts, performing arts, film/video, design, and the Minneapolis Sculpture Garden. She was previously department head and senior curator at the Baltimore Museum of Art. Her recent exhibitions include Event Horizon (2009), Benches & Binoculars (2009), and Franz West, To Build a House You Start with the Roof: Work, 1972–2008 (MIT Press, 2008). She has also written extensively on performance art, conceptualism, and new media.Anjali Gupta is a critic, curator, editor, and video producer based in San Antonio. She was the executive director (2008–10) and editor-in-chief (2003–10) of Art Lies, a contemporary art quarterly. Her writing has appeared in periodicals including Tema celeste, Art Papers, Art Asia PacificartUS, and Public Art Review, and in gallery and museum catalogues including the Blanton Museum of Art: American Art Since 1900. Gupta has edited books and catalogues, including the award-winning monograph Thomas Glassford: CADÁVER EXQUISITO (UNAM, 2007), Silvia Gruner: Un Chant d’Amour (2008), Unpacking the Collection (Museum of Contemporary Craft, 2008). She also co-edited Colin de Land/American Fine Arts Co. with Dennis Balk (powerHouse Books, 2008).

    Rachel Haidu is associate professor of art and art history at the Graduate Program in Visual and Critical Studies at the University of Rochester. She is the author of The Absence of Work: Marcel Broodthaers, 1964–1976 (MIT Press, 2010). Her essays on Thomas Hirschhorn, Daniel Buren, Gerhard Richter, Marcel Broodthaers, and Piero Manzoni have appeared in DocumentsTexte zur Kunst, and Obieg; in the books Part Object Part Sculpture(Pennsylvania State University Press, 2005), Musée Précaire Albinet (Xavier Barral, 2005),October Files/Gerhard Richter (MIT Press, 2009), and Communities of Sense: Rethinking Aesthetics and Politics (Duke University Press, 2009). She has a PhD in art history from Columbia University.

    Faye Hirsch has been senior editor at Art in America since 2003. Prior to that she was chief editor at Art on Paper (1996–2001) and senior editor at Print Collector’s Newsletter (1991–96). She has taught in the art departments at Yale University and Rhode Island School of Design, among other appointments, and publishes widely on contemporary art.

    Steven Nelson is associate professor of African and African American art history at UCLA. The author of From Cameroon to Paris: Mousgoum Architecture In and Out of Africa(University of Chicago Press, 2007) and co-editor, with Lia Gangitano, of the catalogue New Histories (ICA Boston, 1996), his work has appeared in Art Bulletin, Artforum, African Arts, Art Journal, and elsewhere. Nelson is currently completing a manuscript entitled On the Underground Railroad and is working on a study of Dakar, Senegal.

    Linda Nochlin is the Lila Acheson Wallace Professor of Modern Art at the Institute of Fine Arts, New York University, where she earned her doctorate in art history in 1963. She is known widely for her work on Gustave Courbet, realism, impressionism, and post-impressionism, and for her groundbreaking 1971 article, “Why Have There Been No Great Women Artists?” With Maura Reilly, she curated the exhibition Global Feminisms at the Brooklyn Museum in 2007, the year in which her book Courbet was published by Thames and Hudson. Nochlin is a contributing editor of Art in America.

    Brian Sholis was artforum.com editor at Artforum from 2004 to 2009, where he is currently artforum.com editor-at-large. He is a regular contributor to Artforum and Aperture and is co-editor of The Uncertain States of America Reader (Sternberg Press, 2006). He is currently a doctoral candidate in the history department at CUNY’s Graduate Center.

    Radhika Subramaniam is the director/chief curator of the Sheila C. Johnson Design Center and assistant professor of art and design history and theory at Parsons The New School for Design. She was previously director of cultural programs at the Lower Manhattan Cultural Council (LMCC), and the founding and executive editor of Connect: art.politics.theory.practice, an interdisciplinary art journal published by Arts International. She has a PhD in performance studies and a master’s degree in anthropology.

    Jeff Weinstein is deputy director of the USC Annenberg/Getty Arts Journalism Program. He has been a columnist, critic, and senior editor for visual arts and architecture at the Village Voice, a managing editor of Artforum, fine arts editor and popular culture columnist at thePhiladelphia Inquirer, and, most recently, arts and culture editor at Bloomberg News. Author of Life in San Diego (Sun and Moon Press, 1983) and Learning To Eat (Sun and Moon Press, 1988), he has written about the arts, gay issues, food, and style for the New Yorker,Art in AmericaLos Angeles magazine and many other publications. Jeff began a series of essays about culture, food, and gay issues called Out There on the online site Arts Journal in 2007. He also serves as associate director of the NEA Arts Journalism Institute in Theater and Musical Theater.

  • 2010 Evaluators

    Monica Amor teaches modern and contemporary art history at the Maryland Institute College of Art. She has published articles and reviews in Art NexusThird TextOctoberGrey Room, and Artforum, as well as critical essays in various exhibition catalogues. In 2006, she curated Gego: Defying Structures for the Museu Serralves in Porto, Portugal, and, last year, with Carlos Basualdo, Mexico: Expected/Unexpected for La Maison Rouge in Paris. Her book manuscript, The Crisis of Geometric Abstraction in the Americas, looks at the reversals of the constructivist tradition performed in the work of Gego, Lygia Clark, Hélio Oiticica, and Concrete Art in Argentina.

    Negar Azimi is a senior editor of Bidoun. Her writing has appeared in Artforumfrieze,Harper’sThe New York Times MagazineThe Nation, and Slate.com. She studied politics at Stanford and Harvard and anthropology at Columbia University. She is a board member of the Beirut-based Fondation Arabe pour l’Image, with whom she is working on an ongoing book and exhibition project about the late Armenian-Egyptian photographer Van Leo.

    Ellen Berkovitch is the founder, editor, and creator of the online arts magazine adobe airstream. An art critic since the 1980s and a New Mexico resident since 1992, she is Santa Fe reviewer for Artforum and ArtUS, and has written for Art&Auction, Metalsmith, New Art Examiner, American Craft, The New York Times, Los Angeles Weekly, and others. In 2000 she won an Associated Press investigative reporting prize for her series on Georgia O’Keeffe art fakes, published in the Santa Fe New Mexican newspaper.

    Karen Beckman is the Elliot and Roslyn Jaffe Professor of Cinema and Modern Media in the Department of the History of Art at the University of Pennsylvania. She is the author ofVanishing Women: Magic, Film, and Feminism (Duke University Press Book, 2003) andCrash: Cinema and the Politics of Speed and Stasis (Duke University Press Book, 2010), co-editor (with Jean Ma) of Still Moving: Between Cinema and Photography (Duke University Press Book, 2008), and Picture This! Writing with Photography (with Liliane Weissberg, forthcoming). She is also an editor of the MIT journal Grey Room.

    Maria Fusco is a Belfast-born writer, editor, and academic based in London. She is director of art writing at Goldsmiths, University of London, and is the founder/editor of The Happy Hypocrite, a journal for and about experimental arts writing. She was the inaugural critic-in-residence at Kadist Art Foundation, Paris (2008–09) and the inaugural writer-in-residence at Whitechapel Gallery, London (2009–10). The Mechanical Copula, her first book of short stories, was published by Sternberg Press in November 2010.

    Jeff Jahn is an independent curator, critic, artist, and cultural historian who has spent over a decade in Portland redefining the role of internet media in arts discourse. As a curator he has presented such international artists as Pipilotti Rist, Cao Fei, Hank Willis Thomas, and Donald Judd. He is co-founder and chief critic for the contemporary art blog PORT. In addition to numerous catalogues, his writing has been published in Modern Painters and Art in America.

    Kelly Klaasmeyer is an artist, art critic for the Houston Press, and the editor of Glasstire.com. She received the Lone Star Award of the Houston Press Club in arts and entertainment criticism for the state of Texas in 2004. Klaasmeyer was a 2009 USC Annenberg/Getty Arts Journalism Program Fellow and was awarded a Creative Capital/Warhol Foundation Arts Writers Grant in short-form writing.

    Christy Lange is a Berlin-based writer and associate editor of frieze. Her writing has appeared in numerous books, catalogues, and magazines, including 032CAfterallDAMn,MonocleThe Observer, and TATE ETC. Her essay on the work of Thomas Demand, Rene Magritte, and Luigi Ghirri was recently published in the book La Carte d’Après Nature (Mack, 2010). She is currently at work on a book about war and contemporary photography.

    Jonathan Lopez is editor-at-large of Art & Antiques, a correspondent for the Sunday books section of the Boston Globe, and a contributing writer at the entertainment desk of the Associated Press. His book, The Man Who Made Vermeers: Unvarnishing the Legend of Master Forger Han van Meegeren, was published in 2008 by Houghton Mifflin Harcourt. He has also written for ARTnews, the magazine Antiques, and London-based Apollo: The International Magazine of the Arts.

    Nell McClister, an editor and arts writer based in Philadelphia, is a regular contributor toArtforum, where she was reviews editor from 1999 to 2002, and a contributing editor toBOMB, where she was senior editor from 2002 to 2007. As a freelance editor she has recently worked on David Humphrey’s Blind Handshake (Periscope, 2009), Anthony McCall’s Notebooks and Conversations, Hans-Ulrich Obrist’s Interviews: Vol. 2 (Charta, 2010), and Dorothea von Hantelmann’s How to Do Things with Art (Documents)(JRP|Ringier, 2010).

    Judd Morrissey is a writer and digital artist whose works of electronic literature, performance, and installation have been widely and internationally presented. He is the creator of such digital literary works as The Precession (work-in-progress, 2009–ongoing), The Last Performance [dot org] (2009), The Jew’s Daughter (Electronic Literature Collection, 2006), and My Name is Captain, Captain (Eastgate Systems, 2002). Morrissey teaches at the School of the Art Institute of Chicago.

    Valerie Cassel Oliver is senior curator at the Contemporary Arts Museum Houston. She has organized numerous exhibitions, including the acclaimed Double Consciousness: Black Conceptual Art Since 1970 (2005). Forthcoming exhibitions include a retrospective of Fluxus artist Benjamin Patterson and survey of painter Donald Moffett. Oliver serves on editorial committees for the journals CallalooGulf Coast, and Art Lies, and on the board of Project Row Houses in Houston.

    Peter Plagens is an abstract painter and writer in New York, where he is represented by the Nancy Hoffman Gallery. Plagens has written about art since the mid-1960s and was art critic for Newsweek from 1989 to 2003. He is currently at work on a monograph about Bruce Nauman for Phaidon. The book is scheduled for publication in late 2011.

    Lawrence Rinder is the director of the Berkeley Art Museum and Pacific Film Archive. Previously, he was dean of the college at the California College of the Arts in San Francisco; Anne and Joel Ehrenkranz Curator of Contemporary Art at the Whitney Museum of American Art; founding director of the CCA Wattis Institute for Contemporary Arts in San Francisco; and assistant director and curator for twentieth-century art at the Berkeley Art Museum and Pacific Film Archive.

    Mira Schor is a New York-based artist and writer. She is the author of A Decade of Negative Thinking: Essays on Art, Politics, and Daily Life (Duke University Press, 2010) and editor ofThe Extreme of the Middle: Writings of Jack Tworkov (Yale University Press, 2009). Schor is the co-founder and editor of M/E/A/N/I/N/G, a journal of contemporary art. She is associate teaching professor in fine arts at Parsons The New School for Design. A recipient of the College Art Association Frank Jewett Mather Award in art criticism and a Guggenheim Fellowship in painting, Schor received a 2009 Creative Capital/Warhol Foundation Arts Writers Grant. She is represented by CB1Gallery in Los Angeles.

    Radhika Subramaniam is the director/chief curator of the Sheila C. Johnson Design Center and assistant professor of art and design history and theory at Parsons The New School for Design. She was previously director of cultural programs at the Lower Manhattan Cultural Council (LMCC), and also the founding and executive editor of Connect: art.politics.theory.practice, an interdisciplinary art journal published by Arts International. She has a PhD in performance studies and a master’s degree in anthropology.

    Javier Téllez is a Venezuelan video and installation artist who lives and works in New York. Téllez has exhibited in the Venice, Sydney, Prague, and Whitney Biennials. His recent solo exhibitions include Mind the Gap, Kunsthaus Baselland, Basel, Switzerland; Letter on the Blind for the Use of Those Who See, Musée d’Art de Joliette, Joliette, Canada; La Passion de Jeanne d’Arc (Rozelle Hospital), Galerie Peter Kilchmann, Zurich; and S-t-e-r-e-o-v-i-e-w, Bronx Museum of the Arts, Bronx, New York.

    Lilly Wei is a New York-based independent curator and critic who writes regularly for Art in America and is a contributing editor at ARTnews, frequently reporting on international biennials. She is also an essayist and has written many exhibition catalogues and brochures on contemporary art. Wei has an MA in art history from Columbia University.