Common Ground

Curatorial Activism, Part 2

 

1 p.m. Eastern / 10 a.m. Pacific

A conversation featuring legendary feminist curators Camille Morineau, Daria Khan, Catherine de Zegher, Rosa Martínez, Ann Sutherland Harris, moderated by Maura Reilly.

Please join us for our second installment of “Curatorial Activism,” moderated by curator Maura Reilly, author of Curatorial Activism: Towards an Ethics of Curating.

This will be an ongoing “Curatorial Activism” series taking place the first Thursday of each month. Stay tuned for more details!

In this talk

Camille Morineau

A photograph of Camille Morineau
Photo by Valérie Archeno
The co-founder and director of AWARE (Archives of Women Artists, Research and Exhibitions), a French non-profit organization dedicated to the creation, indexation and distribution of information on women artists of the 20th century. With degrees from both the École normale supérieure and the Institut national du patrimoine, she has worked for twenty years in public cultural institutions in France, including ten years as curator of the contemporary collections at the musée national d’Art moderne – Centre Georges-Pompidou (Paris).

Daria Khan

Daria Khan
The curator of Mimosa House, an independent non-profit art institution that she founded in 2017 in London. Dedicated to artistic experimentation and collaboration, Mimosa House supports dialogue between intergenerational women and queer artists. Daria’s recent curatorial projects include Tender Touches, Austrian Cultural Forum, London; Mechanisms of Happiness at Photographers Gallery, London; Levitate at Freiraum 21 International, MuseumsQuartier Vienna; the Public Programme of the 5th Moscow Biennial, Moscow. Daria was a curator in residency at the MuseumsQuartier, Vienna and a participant of EUNIC programme at the Palais de Tokyo, Paris. Daria participated in various talks and conferences, including Oxford University (Christ Church), School of the Art Institute of Chicago and Centre Pompidou. She received her MA in Curating Contemporary Art from the Royal College of Art, London, and is currently undertaking the MPhil/PhD Art Programme at Goldsmiths University, London.

Catherine de Zegher

Catherine de Zegher
A Member of the Royal Academy of Belgium for Science and the Arts and was the Director of the Museum of Fine Arts, Gent (Belgium). In 2012, she was the Artistic Director of the 18th Biennale of Sydney, Australia, and in 2013 of the 5th Moscow Biennale, Russia. She curated the Australian Pavilion (Simryn Gill) at the 55th Venice Biennale in 2013 and the Belgian Pavilion (Thierry De Cordier) at the 47th Venice Biennale in 1997. As Guest Curator in the Department of Drawings at the Museum of Modern Art, New York, she organized the large-scale exhibition On Line. Drawing Through the Twentieth Century (2010-2011). From 2007-2009, de Zegher was the Director of Exhibitions and Publications at the Art Gallery of Ontario in Toronto. Previous to this position, from 1999-2006, she was for many years the Executive Director and Chief Curator of The Drawing Center in New York. Before de Zegher took up her career in North America, she was the co-founder and Director of the Kanaal Art Foundation in Kortrijk, Belgium (1988-1998). De Zegher is the curator of many acclaimed historical and contemporary exhibitions, such as America: Bride of the Sun. 500 Years of Latin America and the Low Countries (1992) at the Royal Museum of Fine Art, Antwerp, and Inside the Visible. An Elliptical Traverse of Twentieth-Century Art in, of, and from the Feminine (1994-1996) at the Institute of Contemporary Art in Boston. Several of her projects and books promote the feminine principle. In the last twenty years, de Zegher has received Best Show awards from AICA and AAMC. Author and editor of numerous books on modern and contemporary artists, one of her publications is the October Book Women Artists at the Millennium co-edited with Carol Armstrong (MIT Press). In 2014, de Zegher published Women’s Work Is Never Done, an anthology of her collected essays on the work of contemporary women artists. Most recently, in 2020, she published a sequel to Inside the Visible, for its 25th Anniversary, in a Dutch mook (magazine/book) SeeAllThis #20.

Rosa Martínez

Rosa Martínez
An independent curator, writer and art collections consultant. She lives in Barcelona where she got her degree in Art History. She was curator of several major international biennials, including Istanbul, 1997; SITE Santa Fe, New Mexico, USA, 1999; Busan, Korea, 2000; Sao Paulo, 2006; Moscow 2005-2007. In 2005, she was director of the 51st International Art Exhibition of the Venice Biennale with the exhibition Always a Little Further in the Arsenale, which made her – together with Maria de Corral, responsible for the Italian Pavilion – the first female director of this event in its 110-year history. Always with a feminist approach, she has also curated significant thematic exhibitions like Fear Nothing, She Says. When Art Reveals Mystic Truths (2015) devoted to the legacy of Saint Teresa of Avila, for the Museo Nacional de Escultura in Valladolid, Spain; Intimacy is Political. Sex, Gender, Language, Power (2017) for the Centro Cultural Metropolitano in Quito, Ecuador, or In the Name of the Father (2019) at the Picasso Museum in Barcelon, Spain. From 2004-7 Martínez served as Chief Curator of the Istanbul Museum of Modern Art. In addition to curating many solo and group shows, she has also been a prolific lecturer and a regular contributor to numerous exhibition catalogues, art journals and newspapers. She is currently writing a book on her curatorial visions and experiences.

Ann Sutherland Harris

Ann Sutherland Harris

A Professor Emerita at the University of Pittsburgh. Her research and teaching have embraced a variety of topics in the history of art and architecture in European painting and sculpture in late Renaissance and seventeenth-century art. When she began her career in the 1960s, the literature on 17th century Italian painters was sparse. She reconstructed the careers of several artists, including Pier Francesco Mola and Pietro Testa, tracing documentary records and identifying a group of paintings and drawings by them with a more logical chronology of their works. Her monograph on Andrea Sacchi (1599-1661) is regarded as one of the best monographs on a major seicento painter. She is fascinated by artists’ drawings and the challenges of correct identification, and their functions in the production of both painting and sculpture. She has discovered and published a group of drawings by Gian Lorenzo Bernini, and others by Michelangelo, Nicolas Poussin, Claude Lorrain, and many less well-known artists. Her book Seventeenth-Century Art and Architecture (Laurence King, London, 2005; 2nd ed., 2008) is used widely as a textbook on this important century in European art bridging the more familiar periods of the Renaissance and those that follow.

Dr. Harris co-curated with Linda Nochlin the groundbreaking exhibition Women Artists, 1550-1950, which opened at the Los Angeles County Museum in 1976 and then traveled to the University Art Museum, Austin, Texas; the Carnegie Museum of Art, Pittsburgh; and the Brooklyn Museum, New York). As the first exhibition at major museums in the U.S. dedicated to women artists, it attracted large audiences in both Los Angeles and New York, and thus drew public attention to women artists who were little known except to specialists, among them Sofonisba Anguissola, Lavinia Fontana, Artemisia Gentileschi, Judith Leyster, Rachel Ruysch, and Elizabeth Vigée Lebrun. Major exhibitions have been devoted to all of them since and excellent monographs too, except for Ruysch, though she is always included in exhibitions about flower painters. For the Women Artists, 1550-1950 catalogue, Dr. Harris wrote most of the catalogue entries for the artists working before 1800 as well as a substantial essay about the situation of all women in the previous centuries whose weaving, embroidery and manuscript illuminations made them the first women artists in Europe – and thus the ancestors of the pioneering women artists who emerged in Europe in the mid-sixteenth-century. Feminist activism has also played a role in Sutherland Harris’ career. In 1970, she testified before the US Congress about the discrimination faced by women in higher education, and then helped to establish the Women’s Caucus for Art, an advocacy organization for women active as artists, art historians, and museum professionals; she served as its first President (1972-74). She continues to write about women artists of the past and present, including Artemisia Gentileschi, Elisabetta Sirani, Alice Neel, Elizabeth Murray and Edna Andrade, among others. Dr. Sutherland Harris received her PhD from the Courtauld Institute of the University of London.

Maura Reilly

Maura Reilly
Photo by Rochelle S. Paris
A curator and arts writer who has organized dozens of exhibitions internationally with a specific focus on marginalized artists. She has written extensively on global contemporary art and curatorial practice, including, most recently Curatorial Activism: Towards an Ethics of Curating (Thames & Hudson, 2018), which was named a “Top 10 Best Art Book of 2018” by the New York Times. Her next book, The Ethical Museum, is forthcoming from Thames & Hudson in 2022, followed by a textbook on Feminist Art, also with Thames & Hudson. Reilly is the Founding Curator of the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum, where she developed and launched the first exhibition and public programming space in the USA devoted entirely to feminist art. While there, she organized several landmark exhibitions, including the permanent installation of Judy Chicago’s The Dinner Party, the blockbuster Global Feminisms (co-curated with Linda Nochlin), Ghada Amer: Love Had No End, Burning Down the House, among others. Other notable exhibitions include Miriam Schapiro: An American Visionary, Richard Bell: Uz v. Them, Nayland Blake: Behavior, Carolee Schneemann: Painting, What It Became, La Mirada Iracunda (The Furious Gaze), Neo-Queer, among others. She is a founding member of two initiatives dedicated to fighting discrimination against women in the art world – The Feminist Art Project (TFAP) and Feminist Curators United (FcU). She received her M.A. and PhD in art history from the Institute of Fine Arts, New York University, and is an Editor-at-Large for the Brooklyn Rail. Dr. Reilly is an Associate Professor of Art History and Museum Studies at Arizona State University.

The Rail has a tradition of ending our conversations with a poem, and we’re fortunate to have Eileen Myles reading.

Eileen Myles

A black and white photo of poet Eileen Myles.
Shae Detar
They came to New York from Boston in 1974 to be a poet. Their books include For Now (an essay/talk about writing), I Must Be Living Twice/new and selected poems, and Chelsea Girls. They showed their photographs in 2019 at Bridget Donahue, NYC. Eileen has received a Guggenheim Fellowship and an award from the American Academy of Arts & Letters. They live in New York and Marfa, TX.