- 2010 Writing Workshop recipients
Natalie Bell, New York, NYDavid Buuck, Oakland, CA
Colin Edgington, New Brunswick, NJ
Mark Feldman, Menlo Park, CA
Erin Langner, Seattle, WA
Carol McCusker, San Diego, CA
Patricia Mora, Dallas, TX
Christina Schmid, Minneapolis, MN
Deanna Sirlin, Milton, GA
Adam Welch, Hightstown, NJ
- 2010 Writing Workshop mentors
Annette Grant was an arts editor for The New York Times for twenty-five years, during which time she ran the Weekend Section, was cultural editor of the Sunday Magazine, and oversaw the art, photography, architecture, and dance pages of the Sunday Arts & Leisure section. She also contributed articles on wide-ranging topics, including ancient Egyptian painting, Renaissance armor, Impressionism, Surrealism, and Gregory Crewdson’s contemporary high-tech photography. After retiring from the Times, she spent five-months with Art & Auction magazine as a guest editor and contributed articles on Iraqi painter Ahmed Alsoudani, sculptor John Chamberlain, and a variety of art collectors. She is a former director of the Young Arts Critics Program, a partnership between the CUE Art Foundation and AICA/USA.
Eleanor Heartney is a contributing editor to Art in America and Artpress and has written extensively on contemporary art issues for ARTnews, Art and Auction, The New Art Examiner, and The New York Times. She received the College Art Association’s Frank Jewett Mather Award for distinction in art criticism in 1992 and was honored by the French government as a Chevalier dans l’Ordre des Arts et des Lettres in 2008. Her books includeArt and Today (2008), After the Revolution: Women who Transformed Contemporary Art(2007), Defending Complexity: Art, Politics and the New World Order (2006), Postmodern Heretics: The Catholic Imagination in Contemporary Art (2004), Postmodernism (2001), andCritical Condition: American Culture at the Crossroads (1997). Heartney is a past President of AICA/USA.
Hayden Herrera is an art historian who has contributed to Art in America, Artforum, and TheNew York Times, among others. She lectures widely and has served as a guest curator at the Whitney Museum, the Neuberger Museum, and the Museum of Contemporary Art, Chicago. She taught Latin American art at New York University and was awarded a Guggenheim Fellowship, as well as a prize for her authorship of the narration for the filmPortrait of an Artist: Frida Kahlo. Her widely praised books include Frida: A Biography of Frida Kahlo (1983), Mary Frank (1990), Matisse: A Portrait (1993), the Pulitzer-prize-finalistArshile Gorky: His Life and Work (2003) and Joan Snyder (co-authors Jenni Sorkin and Norman Kleeblatt, 2005).
David Levi Strauss is the author of From Head to Hand: Art and the Manual (2010), Between the Eyes: Essays on Photography and Politics (with an introduction by John Berger, 2003), and Between Dog & Wolf: Essays on Art and Politics (1999). Strauss was a Guggenheim fellow in 2003 and received the Infinity Award for Writing from the International Center of Photography in 2007. He is Chair of the graduate program in Art Criticism & Writing at the School of Visual Arts in New York.
Suzanne Muchnic’s criticism and arts writing has appeared in The Los Angeles Times for more than three decades. She was Los Angeles correspondent to ARTnews andARTnewsletter, Southern California editor of Artweek, and has written extensively for exhibition catalogues. Her books include Odd Man In: Norton Simon and the Pursuit of Culture (1998) and a forthcoming biography of the artist Helen Ludenberg. She has taught art criticism and art history at Claremont Graduate School, the University of Southern California, and Los Angeles City College.
Peter Plagens was staff art critic for Newsweek (1989- 2003), where he is now a contributing editor. He received fellowships from the Guggenheim Foundation, the National Endowment for the Arts, and the National Art Journalism Program. His books of art criticism are Sunshine Muse: Art on the West Coast, 1945- 1970 (1974; revised and reissued 2000) and Moonlight Blues: An Artist’s Art Criticism (1986). He published the novel Time for Robo in 1999. His online novel, The Art Critic, was serialized in 2007 on ArtNet. A monograph on the artist Bruce Nauman is forthcoming from Phaidon. As a painter, Plagens has shown with the Nancy Hoffman Gallery in New York since 1974. The University of Southern California, in Los Angeles, organized a traveling retrospective of his work in 2004.
Mark Rosenthal’s distinguished career in museum work has included positions as curator of twentieth-century art at the National Gallery, Washington, D.C., and the Philadelphia Museum of Art. He was Adjunct Curator at the Solomon R. Guggenheim Museum, New York, and The Menil Collection, Houston, and currently at Detroit Institute of Arts. Rosenthal’s award-winning art exhibitions, with accompanying ground-breaking catalogue essays, include surveys of Abstract Art in the Twentieth Century, Joseph Beuys, Alexander Calder, Jasper Johns, William Kentridge, Anselm Kiefer, Paul Klee, and Pablo Picasso. He is currently preparing an Andy Warhol exhibition for the Metropolitan Museum of Art.
Richard Shiff is Effie Marie Cain Regents Chair in Art at The University of Texas at Austin, where he directs the Center for the Study of Modernism. He received the College Art Association’s Distinguished Teaching of Art History Award in 2010. His scholarly interests range across nineteenth-century French painting, postwar American art, and contemporary art. His publications include Doubt (2008), Barnett Newman: A Catalogue Raisonné (co-author Ann Temkin, 2004), and Cézanne and the End of Impressionism (1984). Between Sense and de Kooning will be published in 2011. Shiff has also written numerous studies of critical, theoretical, and methodological issues, as well as recent essays on Georges Seurat, Camille Pissarro, Richard Serra, Jasper Johns, Joel Shapiro, Marlene Dumas, Cy Twombly, and Per Kirkeby.
Gregory Volk is a contributing editor to Art in America and has written for such publications as Parkett and Sculpture. Among his contributions to exhibition catalogues are essays in Ayse Erkmen (Hamburger Bahnhof, 2008), Joan Jonas (Museu d’Art Contemporani de Barcelona, 2007), and Bruce Nauman (Milwaukee Art Museum, 2006). His writing also appears in Vito Acconci: Diary of a Body, 1969-1973 (2004) and Andy Warhol: The Last Decade (2009). With Sabine Russ, Volk has curated such exhibitions as Carnival Within at UferHallen in Berlin (2009) and Public Notice: Paintings in Laumeier Sculpture Park in St. Louis (2005-2006). He was a visiting critic for MOCA Cleveland and Charlotte Street Foundation in Kansas City and is an associate professor at the School of the Arts at Virginia Commonwealth University.
Lilly Wei is a New York-based independent curator and critic who contributes to many U.S. and international publications. She 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. She serves on numerous advisory panels and is on the board of several art institutions and foundations. She is currently preparing an exhibition of young Israeli artists for the Neuberger Museum.
Art Writng Workshop Program Director
Amei Wallach’s articles have appeared in The New York Times, Art in America, ARTnews,Aperture, Parkett, The Nation, and Vanity Fair. Her numerous books and catalogues includeIlya Kabakov: The Man Who Never Threw Anything Away and Crossroads: Art and Religion in American Life. She was on-air arts essayist for the MacNeil/Lehrer Newshour and chief art critic for New York Newsday. Her 2008 film, Louise Bourgeois: The Spider, The Mistress and The Tangerine, co-directed with the late Marion Cajori, won international acclaim. She is in post-production on a documentary on Ilya & Emilia Kabakov. Wallach won a 2006 AICA Best Show award for her exhibition Neo Sincerity, regularly organizes and participates on U.S. and international panels, is Visiting Scholar at Syracuse University, and a past president of AICA/USA.