• 2013 Panelists

    Julia Bryan-Wilson is an associate professor of modern and contemporary art at the University of California, Berkeley. She is the author of Art Workers: Radical Practice in the Vietnam War Era (UC Press, 2009) and editor of October Files: Robert Morris (MIT Press, 2013). A widely published scholar and critic, her writings have appeared in such venues asArtforum, Art Bulletin, and October. She won the 2013 Art Journal Award and, in 2006, was an inaugural awardee of the Creative Capital | Warhol Foundation Arts Writers Grant.

    Ed Halter is a critic and curator living in Brooklyn. He is a founder and director of Light Industry, a venue for film and electronic art, and his writing has appeared in Artforum, theBeliever, frieze, Mousse, the Village Voice, and elsewhere. He recently curated the film and video program for the 2012 Whitney Biennial. He teaches at Bard College, and is currently writing a critical history of contemporary experimental cinema.

    Salah Hassan is the director of the Institute for Comparative Modernities (ICM), and the Goldwin Smith Professor of African and African Diaspora Art History and Visual Culture at Cornell University. He is editor and founder of Nka: Journal of Contemporary African Art and consulting editor for Atlantica and Journal of Curatorial Studies. He authored, edited and coedited several books, including Ibrahim El Salahi: A Visionary Modernist (Museum for African Art, 2012); Diaspora, Memory, Place (Prestel Publishing, 2008); Unpacking Europe(NAi Publishers, 2002); Authentic/Ex-Centric (Forum for African Arts, 2002); and Darfur and the Crisis of Governance: A Critical Reader (Cornell University Press, 2009). He has curated several international exhibitions including at the 49th Venice Biennale in 2001 and the Dakar Biennale in 2004.

    Cinqué Hicks is an art critic based in Atlanta, Georgia. He is currently senior contributing editor of the International Review of African American Art and, in 2012, served as the interim editor-in-chief of Art Papers. His writing has appeared in Public Art Review, Art in America,Artforum.com, Rhizome.org, Creative Loafing, and Artvoices, among other publications. He lectures on contemporary art and issues of art criticism at universities, museums, and galleries nationally and internationally.

    Margaret Iversen is a professor of art history and theory at University of Essex. Her books include Alois Riegl: Art History and Theory (MIT Press, 1993), Beyond Pleasure: Freud, Lacan and Barthes (Penn State University Press, 2007), Writing Art History (with Stephen Melville) (University of Chicago Press, 2010), and Chance (MIT Press, 2010). She recently coedited special issues of journals: “Photography after Conceptual Art” for Art History and “Agency and Automatism” for Critical Inquiry. A book called Photography, Trace and Traumais forthcoming.

    Christopher Knight is an art critic for the Los Angeles Times. A three-time finalist for the Pulitzer Prize in Criticism (1991, 2001, and 2007), he received the 1997 Frank Jewett Mather Award for Distinction in Art Criticism. Knight has appeared on CBS’s 60 Minutes, PBS’sNewsHour, and in the prize-winning 2009 documentary movie The Art of the Steal. He is the author of two books: Last Chance for Eden: Selected Art Criticism, 1979–1994 (Art issues Press, 1995) and Art of The Sixties and Seventies: The Panza Collection (Rizzoli, 1999).

    Chris Kraus is a writer and art critic based in Los Angeles. She is the author of four novels and two books of art and cultural criticism, most recently Summer of Hate and Where Art Belongs (Semiotext(e), 2012 and 2011). She is a coeditor of the independent press Semiotext(e), and teaches writing at European Graduate School.

  • 2013 Evaluators

    Gwen Allen is the author of Artists’ Magazines: An Alternative Space for Art (MIT Press, 2011). She is an associate professor at San Francisco State University, where she teaches modern and contemporary art history. She is a frequent contributor to Artforum, and has published in BookforumArt JournalEast of Borneo, and Art Papers. Recent writings include “Design as a Social Practice” in Power to the People: The Graphic Design of Radical Press and the Rise of the Counter-Culture, 1964–1974 (University of Chicago Press, 2013) and “The Politics of Indeterminacy: The Art of Gary Simmons” in Gary Simmons: Paradise (Metro Pictures and Damiani Editore, 2012).

    Kirsty Bell is a freelance writer and critic living in Berlin. She is a contributing editor of frieze, writes regularly for Art in AmericaMousseCamera Austria, and Art Agenda, and has published numerous monographic catalogue essays. Her new book, The Artist’s House: From Workplace to Artwork (Sternberg Press, 2013), was completed with the help of a 2012 Creative Capital | Warhol Foundation Arts Writers Grant.

    Anna Chave teaches at Queens College and the Graduate Center, City University of New York, and has also taught at Harvard and Yale. She has published extensively on issues of gender and identity, reception and interpretation, with regard to figures ranging from early Picasso and O’Keeffe to Pollock and Wilke. She is widely known for her revisionist readings of minimalism and for her monographs on Rothko (Mark Rothko: Subjects in Abstraction) and Brancusi (Constantin Brancusi: Shifting the Bases of Art) (Yale University Press, 1991 and 1993).

    C. Ondine Chavoya is an associate professor of art history and chair of Latina/o studies at Williams College. He is the author of numerous texts on Chicano avant-garde art, video, experimental cinema, and social space in southern California. Recent curatorial projects include the exhibition Asco: Elite of the Obscure, A Retrospective, 1972–1987 with Rita Gonzalez, for which he coedited the award-winning exhibition catalogue.

    Doryun Chong is chief curator at M+ in Hong Kong, a museum for visual culture scheduled to open in 2017. From 2009 to 2013, he was associate curator of painting and sculpture at the Museum of Modern Art, New York, where he organized solo exhibitions of Ernesto Neto, Bruce Nauman, and Henrik Olesen, as well as Tokyo 1955–1970: A New Avant-Garde(2012). He also coedited the groundbreaking anthology, From Postwar to Postmodern: Art in Japan, 1945–1989, Primary Documents (Duke University Press Books, 2012). From 2003 to 2009, Chong was a curator in the visual arts department at the Walker Art Center in Minneapolis.

    Geeta Dayal has written extensively on sound, art, and technology for the past decade, for publications including SlateWiredfriezeCabinetBookforum, the Wire, and the New York Times, among others. Her first book, Another Green World, about the musician Brian Eno, was published by Continuum in 2009. Her essays appear in several anthologies, includingThe New Grove Dictionary of Music and Musicians (Oxford, 2001), Loops (Faber & Faber, 2000), The Resistible Demise of Michael Jackson (Zero Books, 2009), The Pitchfork 500(Simon & Schuster 2008), and Marooned (Da Capo Press, 2007). She lives in San Francisco.

    Malik Gaines is an artist and writer, assistant professor in the Department of Art & Art History at Hunter College, City University of New York, and part of the group My Barbarian, with which he has performed and exhibited extensively. His essays and articles have been published in Art Journale-flux, and Women & Performance (forthcoming). He has contributed to numerous art publications, including essays for books by the Hammer Museum, the Whitney Museum, the Studio Museum in Harlem, Moscow Biennial, and Danspace Projects, as well as monographs for Andrea Bowers, Mark Bradford, Glenn Ligon, Wangechi Mutu, and others. He holds a PhD in performance studies from UCLA.

    Jeffrey Kastner is the senior editor of Cabinet and was formerly senior editor of ARTnewsand a contributing editor for Art Monthly and Art/Text. A regular contributor to Artforum, his writing has appeared in a wide variety of news and cultural publications, including Afterall,Bookforum, the Economistfrieze, and the New York Times. His most recent book is Nature(2012), a volume in the Documents of Contemporary Art series published by MIT and the Whitechapel Gallery.

    Claudia La Rocco’s recent collaborative work includes projects with the performance company Findlay//Sandsmark, the choreographers Rashaun Mitchell and Silas Riener, and the composer Phillip Greenlief. She is a member of the Off the Park poetry press, contributes frequently to the New York Times and Artforum.com, and teaches at the School of Visual Arts and Princeton University. Some of her work can be found at theperformanceclub.org, which received a 2011 Creative Capital | Warhol Foundation Arts Writers Grant.

    Pamela Lee is a professor of art history at Stanford University, where she has taught the history, theory, and criticism of art since 1997. She is the author of two books, both published by MIT Press: Chronophobia: On Time in the Art of the 1960s (2006) and Object to be Destroyed: The Work of Gordon Matta-Clark (2001). Lee’s writing has appeared in a number of journals and magazines, including ArtforumParkettRes: Anthropology and Aesthetics,October, and Texte zur Kunst.

    Leora Maltz-Leca teaches contemporary art and criticism at the Rhode Island School of Design in Providence, RI. She has written on William Kentridge, process and processions(Art Bulletin, March 2013), on contemporary images of liberty in the African postcolonies(African Arts, Winter 2013) and on artists such as David Goldblatt, Santu Mofokeng, Marlene Dumas, Alfred Kumalo, and Peter Magubane for Artforum and Bookforum. She received a BA in painting and in philosophy from Yale and a PhD in art history from Harvard.

    Aram Moshayedi is a writer and curator at the Hammer Museum in Los Angeles. He was formerly associate curator at REDCAT, the Roy and Edna Disney/CalArts Theater, where he organized exhibitions and oversaw the production of new works by the Otolith Group, Slavs and Tatars, Jordan Wolfson, Tony Cokes, Jay Chung & Q Takeki Maeda, Ming Wong, and Geoffrey Farmer. Moshayedi’s writings on art have appeared in numerous exhibition catalogues and such publications as ArtforumArt in AmericafriezeMetropolis MX-TRA Contemporary Art Quarterly, and Bidoun, for which he is a contributing editor.

    Sean O’Toole is a journalist, editor, and writer with a particular interest in photography, book history, and literary forms of art criticism. A longstanding contributor to the Mail & Guardiannewspaper in his native South Africa, he writes a bimonthly column for frieze. He is a founding editor of Cityscapes, a new magazine for urban enquiry published by the African Centre for Cities and was a past editor of Art South Africa magazine (2004–2010). He has published one book of fiction, The Marquis of Mooikloof and Other Stories (Double Storey Publishers, 2006) and edited numerous art books, including über(W)unden: Art in Troubled Times (Jacana Media, 2012). He lives in Cape Town.

    Kristina Lee Podesva is an artist, writer, and editor at Fillip. Her artwork has appeared at Artspeak, Darling Foundry, in the group exhibition No Soul for Sale (Tate), Dorsky Gallery, and the Power Plant, among other venues. In addition to publishing in Fillip, she has written for Turn Off the Sun (2013), Waking Up from the Nightmare of Participation (Sternberg, 2010), Vector: Critical Research in Context (2011), Judgment and Contemporary Art Criticism (Fillip Editions/Artspeak, 2011), and Komma (Fillip Editions, 2010). She is also the coeditor of Institutions by Artists: Volume 1 (Fillip Editions, 2012), Tradition Versus Modernity(forthcoming), and 100% Vancouver (2011).

    Raphael Rubinstein is a New York-based art critic and poet. Most of his early criticism was published in Arts Magazine and Flash Art. He has written for Art in America since 1991. He writes on a wide range of themes, including contemporary abstraction, the unexplored history of European avant-gardes of the postwar period, artist-writer collaborations, and art criticism itself. He has published numerous books, including collections of his art criticism, in English and French, monographs and exhibition catalogues, several volumes of poetry, and an anthology of essays on art criticism.

    Sven Spieker’s latest book, The Big Archive (MIT Press, 2008), focused on the archive as a crucible of European modernism. Spieker is the founding editor of ARTMargins and a member of the editorial collective that runs ARTMargins Online. He teaches in the Department of Germanic, Slavic, and Semitic Studies; the Department of Art, the Department of Art and Art History, and the Comparative Literature Program at the University of California, Santa Barbara. He specializes in modern and contemporary art with an emphasis on central and eastern Europe.

    Judith Stein is a writer and independent curator who specializes in postwar American art. She is the recipient of a Warhol Foundation | Creative Capital Arts Writers Grant and a Pew Foundation Fellowship in the Arts for literary nonfiction. Her writings have appeared in Art in America, the New York Times Book Review, and numerous museum publications. A former curator at the Pennsylvania Academy of the Fine Arts, she curated I Tell My Heart: The Art of Horace Pippin, (1995), shown at the Metropolitan Museum of Art. Her biography of the art dealer Richard Hu Bellamy will be published by Farrar, Straus & Giroux in 2014.