2009

  • 2009 Writing Workshop recipients

    June Beltran, San Francisco, CA

    Daniel Boehl, Austin, TX

    Matthew Christy, Nashville, TN

    Kurt Eidsvig, Boston, MA

    Cora Fisher, New York, NY

    Christian Frock, Oakland, CA

    Jeanne Gerrity, Brooklyn, NY

    Susan Kunimatsu, Seattle, WA

    Sophie Landres, Brooklyn, NY

    Daniel Miller, Berlin, Germany

    Katey Schultz, Bakersville, NC

  • 2009 Writing Workshop mentors

    Marek Bartelik is an art historian and art critic specializing in art theory and 20th century art. He has contributed to Artforum from some twenty countries on four continents for the last fourteen years, as well as writing for CAA Art Journal, Art in America, Cultural Politics, Paletten, and Print magazine. His books include To Invent a Garden: the Life and Art of Adja Yunkers, The Sculpture of Ursula von Rydingsvard (with Dore Ashton and Matti Megged), and Orlan: Refiguration Self-Hybridations. He studied at the École des Beaux Arts in Paris, earned a Masters of Science degree in Civil Engineering from Columbia University, and a Ph.D. in Art History from CUNY Graduate Center. He has taught art theory at Yale and MIT and currently teaches modern and contemporary art at the Cooper Union for the Advancement of Science and Art in New York. He is Graduate Critic-in-Residence at Maryland Institute College of Art in Baltimore, Co-President of the US chapter of the International Art Critics Association (AICA-USA), and Vice-President of AICA International.

    An independent writer and art historian, Avis Berman has written extensively on art, design, and museum history for numerous magazines and newspapers, including the New York Times, ARTnews, Smithsonian, Boston Globe, Washington Post, Philadelphia Inquirer, Antiques, and Art & Antiques. She has contributed essays to encyclopedias, anthologies, and museum catalogues on the Armory Show, BrassaV, Roy Lichtenstein, Elie Nadelman, Ursula von Rydingsvard, and James McNeill Whistler. She is the author of Rebels on Eighth Street: Juliana Force and the Whitney Museum of American Art; James McNeill Whistler; andEdward Hopper’s New York, and co-author and editor of Katharine Kuh’s memoir My Love Affair with Modern Art: Behind the Scenes with a Legendary Curator. Berman has also sustained a parallel career as an oral historian in the visual arts. To date, she has interviewed over 450 artists, curators, critics, dealers, collectors and other significant figures in the art world for such organizations as the Archives of American Art, the Metropolitan Museum of Art, the Museum of Modern Art, the National Academy of Design, the Mark Rothko Foundation, and the Andy Warhol Museum. Since 2001, she has directed the oral history program of the Roy Lichtenstein Foundation.

    Phyllis Braff served as an art critic for The New York Times for several decades and has written articles and reviews for art publications internationally. Other publications includeBibliography of Twentieth Century Art and Architecture, Bibliography of American Art and Architecture,and essays for a number of monographs and exhibition catalogues. A former museum administrator and museum art curator, she has also taught art history, criticism, and critical theory at the graduate and undergraduate levels and has received a number of grants and awards. Braff is currently co-president of the U.S. section of the International Art Critics Association and is a former vice-president of the Paris-based international organization.

    Michael Duncan, a critic and independent curator, is a corresponding editor for Art in America. His writings have focused on maverick artists of the twentieth century, West Coast modernism, twentieth-century figuration, and contemporary California art. His curatorial projects include surveys and recontextualizations of works by Pavel Tchelitchew, Sister Corita Kent, Kim MacConnel, Lorser Feitelson, Eugene Berman, Richard Pettibone, and Wallace Berman. Duncan has contributed major essays to books on Melissa Miller, Robert Kushner, Joyce Treiman, Dan Douke, Joe Goode, and Peter Saul.

    Peter Frank is editor of THE magazine LA and senior curator at the Riverside Art Museum. Until recently he was a critic for Angeleno magazine and the LA Weekly. While based in New York in the 1980s, he was an art critic for The Village Voice and the SoHo Weekly News. After moving to Los Angeles, he edited VISIONS Art Quarterly in the early 1990s. He contributes articles to numerous publications, monographs, and catalogues. Exhibitions he has organized include Driven to Abstraction: Southern California and the Non-Objective World, 1950–1988; Artists’ Books U.S.A.; Line and Image: The Northern Sensibility in Recent European Drawing; and Fluxus Film and Video. Frank has taught at the Pratt Institute, Columbia University’s School of the Arts, the Tyler School of Art, the University of California Irvine, and the University of California Los Angeles, among others.

    Janet Koplos has been writing about art since 1976 and has published more than 2,000 articles, reviews and essays in newspapers, magazines, and catalogues in America, Europe, and Japan. She lectures, juries, and critiques frequently and is a member of the Association Internationale des Critiques d’Art and the College Art Association. Koplos lived in Tokyo from 1984 to 1989 and continues to about Japanese contemporary art. She is the author of two books, Contemporary Japanese Sculpture and The Unexpected. Her history of American studio craft (with co-author Bruce Metcalf) is forthcoming from the University of North Carolina Press. Koplos is a graduate of the University of Minnesota School of Journalism and Mass Communication. She also holds a master’s degree in art history from Illinois State University. Since 1988 she has been associated with Art in America magazine, first as a freelancer, then a staff editor, now a contributing editor, and she currently is Guest Editor of American Craft magazine. She lives in New York City.

    Peter Plagens was a staff art critic for Newsweek (1989- 2003), where he is now a contributing editor. He is a painter who has shown with the Nancy Hoffman Gallery in New York since 1974 and has received fellowships from the John Simon Guggenheim Foundation, the National Endowment for the Arts, and the National Art Journalism Program. Plagens has published two books of art criticism—Sunshine Muse: Art on the West Coast, 1945–1970 and Moonlight Blues: An Artist’s Art Criticism—and a novel, Time for Robo. His online novel, The Art Critic, is serialized in the magazine at artnet.com. His book on the artist Bruce Nauman will be published by Phaidon in the fall of 2010. His paintings were the subject of a traveling retrospective first shown at the University of Southern California in Los Angeles.

    Michael Rush is director of the Rose Art Museum at Brandeis University. From 2000 through 2004, he was director and chief curator of the Palm Beach Institute of Contemporary Art. His books include New Media in Late 20th Century Art (1999), New Media in Art (2005), andVideo Art (2003, 2007), the first comprehensive survey of video since the mid-1980s. Rush’s reviews and essays have appeared in The New York TimesArt in AmericaNewsweekonline, artext, and on artnet.com. His web radio show, Rush Interactive, is archived on wps1.org, an affiliate of the Museum of Modern Art and P.S.1. He received his bachelor’s and master’s degrees from the Jesuit College of Arts and Letters at St. Louis University and his doctorate from Harvard University. He is co-founder of the Contemporary Art Museum Directors’ Association (CAMD).

    Richard Shiff is the Effie Marie Cain Regents Chair in Art at the University of Texas at Austin, where he directs the Center for the Study of Modernism. His scholarly interests range broadly across the field of modern art from the early nineteenth century to the present, with emphases on nineteenth-century French painting, postwar American art, and contemporary art in Europe and the Americas. His publications include Cézanne and the End of Impressionism (1984), Critical Terms for Art History (co-editor, 1996, 2003), Barnett Newman: A Catalogue Raisonné (co-author, 2004), and Doubt (2008). Shiff is the author of numerous studies of critical, theoretical, and methodological issues. Some of his most recent essays have dealt with the artists Georges Seurat, Camille Pissarro, Willem de Kooning, Richard Serra, Jasper Johns, Joel Shapiro, Marlene Dumas, Cy Twombly, and Per Kirkeby.

    Lilly Wei is a New York-based independent curator and critic who contributes to many U.S. and international publications. She has written regularly for Art in America since 1982 and is a contributing editor at ARTnews and Art Asia Pacific, frequently reporting on international biennials. She has been the essayist for many exhibition catalogues, brochures, and monographs on contemporary art and artists, including publications for the Albright-Knox Art Gallery and Pace Wildenstein. She has served on many advisory panels and review committees and is a member of several boards, including the International Association of Art Critics (AICA/USA). Wei has been a guest lecturer, panelist, and visiting critic at art institutions nationally and internationally, and has curated numerous shows in the United States and abroad.

    Art Writing Workshop Program Director
    Amei Wallach has written for The New York TimesArt in AmericaArtNewsAperture, ParkettThe NationSmithsonian, and Vanity Fair. Her numerous books and catalogue essays include Ilya Kabakov: The Man Who Never Threw Anything Away and Gees Bend: The Architecture of the Quilt and Crossroads: Art and Religion in American Life. She was for many years the on-air arts essayist for the MacNeil/Lehrer Newshour and chief art critic forNew York NewsdayLouise Bourgeois: The Spider, the Mistress and the Tangerine, the film portrait she co-directed with the late Marion Cajori, opened to international acclaim in 2008. Wallach is currently completing a documentary on the artists Ilya & Emilia Kabakov. She won an AICA Best Show curator’s award in 2006 for her exhibition Neo-Sincerity.She regularly organizes and participates in panels at U.S. and international museums, and is a past president of AICA.