Joachim Pissarro has been the Bershad Professor of Art History and Director of the Hunter College Galleries, Hunter College, New York, since 2007. He has also held positions at MoMA, the Kimbell Art Museum, and the Yale University Art Gallery. His latest book on Wild Art (with co-author David Carrier) was published in fall 2013 by Phaidon Press.
April 2017 | Art
Since joining the Studio Museum in 2000, she has organized exhibitions by Glenn Ligon, Chris Ofili, and Martin Puryear; three of her thematic shows are Black Romantic (2002); Harlemworld: Metropolis as Metaphor (2004); and Afro Muses (2005). She was appointed Director of the Museum in 2005.
MAY 2015 | Art
When we began this ongoing sequence of interviews with museum directors, we knew that we wanted to talk with Glenn Lowry. To be a director of any museum is a complex, highly conflicted job. To be director of MoMA involves special pressures, which seem unique to the flagship American museum dedicated to collecting and reflecting on modern and contemporary art.
MAY 2014 | Art
Philippe de Montebello was appointed the director of the Metropolitan Museum of Art in New Yorkin 1977 after having served at the same museum as chief curator under Thomas Hoving. When he retired in 2008 he was the longest-serving director in the institutions history, and also the longest-serving director of any major art museum.
SEPT 2014 | Art
When one of us, Joachim Pissarro, was chief curator at the Kimbell Museum in the 1990s, he worked with Mikhael Piotrovsky, the director of the Hermitage. And so when it happened that the other one of us, David Carrier, was visiting Saint Petersburg in July, 2014, we wanted to interview Piotrovsky.
DEC 14-JAN 15 | Art
Alanna Heiss is hailed as a founder of what we know as the alternative space movement, and one of the most important centers for contemporary art in the country.
APR 2013 | ArtSeen
I grew up at the complicated and taut interstices between the art gallery world and the avant-garde museum space.
NOV 2013 | ArtSeen
True to the spirit and intentions of street art, this vast and indeed wild exhibition organized by the city administration of Frankfurt took place everywhere but within the clean confines of the museum itself. The city of Frankfurt became the canvas upon which works were executed by about a dozen Brazilian taggers, writers, and graffiti artists who represented a plethora of genres.
SEPT 2016 | Critics Page
This is not an apology for ignorance. Rather, this is an attempt to suggest that there are many more avenues of knowledge than we thinkor, that knowledge cannot be the preserve of a happy few, especially when it comes to art.
FEB 2014 | Editor's Message
During a job search at a prominent university about 20 years ago, a search committee decided not to appoint a scholar in non-Western art despite the fact that, all agreed, this person surpassed in knowledge, field research, languages, and publications almost all (few) contenders in the field. The rationale of the decision was pithily expressed by a member of the committee: He doesnt have enough Theory.
JUL-AUG 2014 | Art
When recently we interviewed Philippe de Montebello, it happened that Sir Norman was in town, and so he participated in that discussion. He had much to say which was of great interest and so we thought it natural to continue the discussion with an interview devoted entirely to him.
NOV 2014 | Art
Fresh Window Gallery presented the exhibition NightLight from September 5 through October 18, 2014. The two-person show featured the work of Swiss-born painter Marc Egger and Japenese-Russian painter and sculptor, Miya Ando.
FEB 2013 | Art
Calder Foundation President Alexander S. C. Rower held a public talk with art historian Joachim Pissarro at Mnuchin Gallery on the occasion of Calder: The Complete Bronzes (October 25 February 9, 2013).
OCT 2013 | Art
Recently Jeffrey Deitch has been much in the news. He has just returned from L.A. where he held the directorship of MOCA for three years. Within this relatively short span of time, Deitch managed to transform radically the ways we approach museums, whether as insiders or outsiders, and, further even, he may have introduced a seismic change within the Art World proper.