Back Row (l to r): Silvia Cubiña, Jordana Pomeroy, Laurie Winters, Gary Tinterow, Eleanor Harvey, Colin Bailey
Front Row (l to r): Paola Morsiani, Elizabeth Armstrong, Zoé Whitley, Richard Rand
Elizabeth Armstrong, Deputy Director and Chief Curator, Orange County Museum of Art
MENTOR: Jock Reynolds, Director, Yale University Art Gallery
RESIDENCY: James Cuno, Director, Art Institute of Chicago
Colin B. Bailey, Associate Director and Peter J. Sharp Chief Curator, Frick Collection
MENTOR: Emily Rafferty, President, Metropolitan Museum of Art
RESIDENCY: Henri Loyrette, President and Director, Musée du Louvre
Silvia Karman Cubiña, Director and Chief Curator, Moore Space, Miami
MENTOR: Thelma Golden, Director, Studio Museum in Harlem
RESIDENCY: Nancy Spector, Chief Curator, Guggenheim Museum
Eleanor Jones Harvey, Chief Curator, Smithsonian American Art Museum
MENTOR: Gail Andrews, Director, Birmingham Museum of Art
RESIDENCY: Mary Sue Sweeney Price, Director, Newark Museum
Paola Morsiani, Curator of Contemporary Art, Cleveland Museum of Art
MENTOR: Susana Torruella Leval, Director Emeritus, El Museum del Barrio
RESIDENCY: Anne Philbin, Director, Hammer Museum
Jordana Pomeroy, Senior Curator, National Museum of Women in the Arts
MENTOR: Kimerly Rorschach, Director, Nasher Museum at Duke University
RESIDENCY: Mimi Gardner Gates, Director, Seattle Art Museum
Richard Rand, Senior Curator, Sterling and Francine Clark Art Institute
MENTOR: William Griswold, Director, The Morgan Library & Museum
RESIDENCY: Maxwell Anderson, Director, Indianapolis Museum of Art
Gary Tinterow, Curator in Charge, Nineteenth Century, Modern and Contemporary Art, Metropolitan Museum of Art
MENTOR: Reynold Levy, President, Lincoln Center for the Performing Arts
RESIDENCY: Neil MacGregor, Director, The British Museum
Zoé Nicole Whitley, Curator, Contemporary Programmes, Victoria and Albert Museum, London
MENTOR: Axel Ruger, Director, Van Gogh Museum
RESIDENCY: Olga Viso, Director, Walker Art Center
Laurie Winters, Curator of Earlier European Art, Milwaukee Art Museum
MENTOR: Brent Benjamin, Director, Saint Louis Art Museum
RESIDENCY: Michael Shapiro, Director, High Museum of Art
Elizabeth Armstrong, Deputy Director and Chief Curator, Orange County Museum of Art
As Deputy Director for Programs and Chief Curator at the Orange County Museum of Art (OCMA) since April 2001, Elizabeth N. Armstrong manages the exhibitions and educational programs at the museum's Newport Beach and Costa Mesa locations. From December 2001 until April 2003, she served as both Acting Director and Chief Curator, overseeing the overall management of the museum, in addition to its artistic programs and new strategic plan. Exhibitions to her credit at OCMA include Birth of Cool: California Art, Design, and Culture at Midcentury (2007); Mary Heilmann: To Be Someone (2007); the 2004 and 2006 California Biennials; Villa America: American Moderns, 1900-1950 (2005); Girls' Night Out (2003).
Prior to joining the OCMA staff, Armstrong served as Senior Curator at the Museum of Contemporary Art, San Diego (MCA), where she managed such special artistic initiatives as the PanAmerican Project and Ojos Diversos/With Different Eyes. At the MCA, she also curated a number of exhibitions including one-person shows of work by Silvia Gruner, Valeska Soares, and David Reed, and a major touring exhibition and publication Ultrabaroque: Aspects of Post-Latin American Art (2000).
Prior to her appointments in California, Armstrong was a curator at the Walker Art Center in Minneapolis from 1982-1996. Among many of the exhibitions that she organized while at the Walker are In a Restless World: Peter Fischli and David Weiss; Duchamp's Leg; Robert Motherwell: The Collaged Image; In the Spirit of Fluxus; and Jasper Johns: Printed Symbols. She has lectured widely at such cultural institutions as SITE Santa Fe, San Diego Museum of Art, Miami Art Museum, Walker Art Center, Philadelphia Museum of Art, Wexner Art Center, and the University of Minnesota. She has published numerous books and catalogues on contemporary art, and her articles have appeared in Artforum; Arts Magazine; Art Review; OCTOBER; Print Quarterly; and Print Collector's Newsletter. Armstrong received her M.A. in the History of Art from the University of California, Berkeley, and B.A. in American Studies from Hampshire College, Amherst, Massachusetts.
Colin B. Bailey, Associate Director and Peter J. Sharp Chief Curator, Frick Collection
Colin B. Bailey is the Peter Jay Sharp Chief Curator of The Frick Collection, and is responsible for the institution's Curatorial, Conservation, Registration, Education and Publications Departments. He received his doctorate of philosophy from Oxford University in 1985 and has held positions at The J. Paul Getty Museum in Malibu; the Philadelphia Museum of Art; the Kimbell Art Museum in Fort Worth; and the National Gallery of Canada in Ottawa, where he was Deputy Director and Chief Curator. He is the author of several books and catalogues, among them The Loves of the Gods: Mythological Painting from Watteau to David (Rizzoli International 1992), The Age of Watteau, Chardin and Fragonard: Masterpieces of French Eighteenth-Century Genre Painting (National Gallery of Canada and Yale University Press 2003); Patriotic Taste: Collecting Modern Art in Pre-Revolutionary Paris (Yale University Press 2002), for which he won the 2004 Mitchell Prize for the best art history book of the year for 2002 and 2003; Renoir's Portraits: Impressions of an Age (Yale University Press 1997). He has taught graduate seminars in 18th-century French art at Bryn Mawr and Columbia Universities.
In addition, Bailey has written numerous articles and scholarly essays, lectured at art institutions across the country, and organized many exhibitions, including Memling's Portraits, Jean-Etienne Liotard (1702-1789): Masterpieces from Genevan Collections, and George Stubbs at The Frick Collection. His most recent projects are Gabriel de Saint-Aubin, a collaborative exhibition with the Musée du Louvre, Paris; and Renoir's Landscapes 1867-1883 for the National Gallery, London, the National Gallery of Canada, Ottawa and the Philadelphia Museum of Art. Bailey is presently a trustee of the Association of Art Museum Curators, having served as Secretary of the Association between 2005 and 2007. He was made a Chevalier des Arts et des Lettres in 1994.
Silvia Karman Cubiña, Director and Chief Curator, Moore Space, Miami
Silvia Karman Cubiñá has served as the Director of the Moore Space since 2002 and has worked as an Independent Curator since 1997. Previously, she held the position of Adjunct curator at inova, the Institute of Visual Arts; University of Wisconsin, Milwaukee; and held positions at The Mexican Museum in San Francisco and the Cuban Museum of Art in Miami. At the Moore Space, she has organized exhibition projects with artists such as: Allora & Calzadilla, Carlos Amorales, John Bock, Sean Dack, Jeppe Hein, Tracey + The Plastics, Jonathan Monk, Aida Ruilova, Hernan Bas, Jim Lambie, Patty Chang, Joan Jonas, Yang Fudong, and numerous group exhibitions. In 2007 Ms. Cubina is working on French Kissing in the USA, a group exhibition that takes its title from a 1986 hit song by Blondie, to present the emerging scene of French artists. Independently, Ms. Cubina has worked on exhibitions such as None of the Above: Contemporary Work by Puerto Rican Artists at Real Art Ways, Hartford, CT; Quirky, Odd and Out of Sorts at MACLA, San Jose, CA; Landmark/Allora & Calzadilla at the Escuela de Artes Plasticas in San Jan; Quisqueya Henríquez; Habitat en Tránsito/Piñones (In-Situ), Javier Cambre's project for the 2002 Biennial Exhibition of the Whitney Museum of American Art; Pepón Osorio: Door to Door at Museo de Arte de Puerto Rico in San Juan; Arte del Nuevo Medio: Doce Propuestas Electrónicas at the Museo de Arte Contemporaneo de Puerto Rico; and she was the Puerto Rico commissioner to the 1997 Bienal de Sao Paolo. She has participated in Project Rooms at ARCO and ArtMiami, has lectured extensively and participated in numerous grant panels and award selection committees, most recently as a juror to the Guggenheim Museum's Hugo Boss Award for 2006. In 2007, she was a finalist for the Walter Hopps Award for Curatorial Achievement.
Eleanor Jones Harvey, Chief Curator, Smithsonian American Art Museum
Eleanor Harvey has served as the Chief Curator at the Smithsonian American Art Museum since September 2003. She oversees the curatorial and conservation staffs, including the Lunder Conservation Center, its acquisitions and collections programs, and supervised the reinstallation of the permanent collection for the museum's reopening in July 2006. She also worked briefly on SAAM's Henry Luce Foundation Center for American Art, which features close to 3500 works of art not previously available to the public.
Previously, Dr. Harvey was curator of American art at the Dallas Museum of Art in Texas. During her tenure (1992-2002), she organized several exhibitions, including The Painted Sketch: American Impressions from Natures, 1830-1880 (1998), Thomas Moran and the Spirit of Place (2001) and The Voyage of the Icebergs: Frederic Church's Arctic Masterpiece (2002). She oversaw the 1992 reinstallation of the permanent collection galleries for American art in the new Hamon Building at the Dallas Museum.
Dr. Harvey has written several books and numerous articles. The Painted Sketch: American Impressions from Natures, 1830-1880 (1998), based on Dr. Harvey's dissertations, won the 1999 Henry Russell Hitchcock Award from the Victorian Society of America as the most significant contribution to 19th-century fine arts studies. Her essay on artist Sanford R. Gifford appears in the exhibition catalogue Hudson River School Vision: The Landscapes of Sanford R. Gifford (2003). Her most recent book is An Impressionist Sensibility: The Halff Collection, which accompanied the museum's exhibition of Marie and Hugh Halff's private collection.
She earned a bachelor's degree with distinction in the history of art from the University of Virginia in 1983, and holds both a master's degree (1985) and doctorate in art history (1998) from Yale University. She is currently working on an exhibition titled Reconstructing America, 1859-1878 on the impact of the Civil War and the Reconstruction on American art.
Paola Morsiani, Curator of Contemporary Art, Cleveland Museum of Art
Paola Morsiani is currently Senior Curator at the Contemporary Arts Museum Houston, where she has worked since April 1999. Morsiani received her Laurea in art history and history of criticism from the University of Padua in Italy, and an MA in Arts Administration from New York University. Prior to joining the Contemporary Arts Museum, she worked in curatorial departments in American museums since 1994—at the Drawing Center and at the Queens Museum in New York, and in Pittsburgh, PA, at the Carnegie Museum of Art. She independently curated shows in Italy, for PS122 Gallery, New York, and Art & Idea, Mexico City, among others institutions. Morsiani has also contributed critical essays to numerous exhibition catalogues and journals on artists such as Inka Essenhigh, Nader Ahriman, Adrian Paci, and Matthew Sontheimer, and on contemporary video and film. On January 1, 2008, she will join the Cleveland Museum of Art, as Curator of Contemporary Art.
Morsiani has curated a number of internationally acclaimed exhibitions at the CAMH, including Wishing for Synchronicity: Works by Pipilotti Rist (2006), Andrea Zittel: Critical Space (2005, co-organized with the New Museum of Contemporary Art, New York), Fade In: New Film and Video (2004), When 1 is 2: The Art of Alighiero e Boetti (2002), and Subject Plural: Crowds in Contemporary Art (2001). Morsiani has also curated several Perspectives series exhibitions, including Perspectives 152: Adrian Paci (2005), Perspectives 144: Amalgama (2005), Abraham Cruzvillegas (2003), Relative Positions: Amy Adler, Liza May Post, Francesca Woodman (2001) and Dario Robleto: I Thought I Knew Negation Until You Said Goodbye (2001). A catalogue accompanies each exhibition, with essays by Morsiani and other writers.
Morsiani is currently working on the exhibition Perspectives 159: Superconscious, Automatisms Now (December 2007), which explores the use of stream of consciousness in the work of Rachel Harrison, Sean Landers, Oliver Payne and Nick Relph, and Danica Pehlps. At the Cleveland Museum of Art, her first project will consists in the reinstallation of the contemporary collection for the reopening of the new museum's wing in March 2009.
Jordana Pomeroy, Senior Curator, National Museum of Women in the Arts
Jordana Pomeroy received her A.B. in Art History from Bryn Mawr College and her Ph.D. from Columbia University. Her dissertation "Collecting the Past to Create a Future: The Old Masters, Artists, and Patrons in Early Nineteenth-Century England" addressed the influx of paintings from the Continent during the warfare following the French Revolution,the opening up of private collections; and the establishment of the British Institution and The National Gallery. Pomeroy has published and spoken widely on the subject of patronage and collecting. In 2006 she published Intrepid Women: Victorian Artists Travel (Ashgate), a series of essays on artistic voyagers who ventured beyond the traditional Grand Tour. She received a postdoctoral fellowship from the Paul Mellon Centre for Studies in British Art and has received numerous grants for exhibitions and catalogues at the National Museum of Women in the Arts, where she is the Senior Curator. She has organized many exhibitions at the National Museum of Women in the Arts including, An Imperial Collection: Women Artists from the State Hermitage Museum; Nordic Cool: Hot Women Designers; Berthe Morisot: An Impressionist and her Circle; and Italian Women Artists from Renaissance to Baroque. She is currently working on an exhibition of late eighteenth-century French women artists.
Richard Rand, Senior Curator, Sterling and Francine Clark Art Institute
Richard Rand has been Senior Curator and Curator of Paintings and Sculpture at the Sterling and Francine Clark Art Institute since 1997. He is also a lecturer in art history in the Williams College/Clark Graduate Program in the History of Art. He has held curatorial appointments at the Los Angeles County Museum of Art (1989-1992) and the Hood Museum of Art, Dartmouth College (1992-1997). Rand has lectured and published widely in his field of research, 17th-19th-century French art. He is a regular contributor to Burlington Magazine, writing exhibition and book reviews. Rand has organized and co-organized numerous exhibitions, including Intimate Encounters: Love and Domesticity in Eighteenth-Century France (1997); Jean-Francois Millet: Drawn into the Light (1999); Turner: the Late Seascapes (2003); and Jacques-Louis David: Empire to Exile (2005). Most recently, he organized an exhibition of drawings, prints, and paintings by Claude Lorrain for the Clark that traveled to the Fine Arts Museums of San Francisco and the National Gallery of Art in Washington (2006-7). Rand received his B.A. from Bowdoin College and Ph.D. from the University of Michigan, Ann Arbor, writing a dissertation on the landscapes of Fragonard. Born in 1961, Rand is the son of a retired diplomat, and grew up living in Europe and Asia. He is married to art historian Kelly Pask, with whom he has a ten-year-old daughter, Charlotte.
Gary Tinterow, Curator in Charge, Nineteenth Century, Modern and Contemporary Art, Metropolitan Museum of Art
Gary Tinterow is the Engelhard Curator in Charge of the Department of Nineteenth-Century, Modern, and Contemporary Art at The Metropolitan Museum of Art. Mr. Tinterow served as Engelhard Curator of Nineteenth-Century European Paintings from 1983 until 2004 after coming to the Museum as a Theodore Rousseau Fellow in 1982. A native of Houston, Texas, Mr. Tinterow graduated magna cum laude from Brandeis University, and received his graduate degree from Harvard University. He spent the early years of his career as a curatorial assistant at the Israel Museum in Jerusalem, the Rose Art Museum at Brandeis (where he later served as acting curator), the Museum of Fine Arts, Houston, the Fogg Art Museum at Harvard (in the drawings department), and the Tate Gallery, London, as a guest curator.
At the Met, the exhibitions he has organized—often with colleagues on staff—have included a number of the best-attended shows ever mounted by the Museum. Among them are Degas (1988); From Poussin to Matisse: The Russian Taste for French Painting (1990); Seurat (1991); Splendid Legacy: The Havemeyer Collection (1993); Origins of Impressionism (1994); Corot (1996); The Private Collection of Edgar Degas (1997); Portraits by Ingres: Image of an Epoch (1999); Manet/Velazquez: The French Taste for Spanish Painting (2002); A Private Passion: 19th-Century Paintings and Drawings from the Grenville L. Winthrop Collection, Harvard University (2003); Crossing the Channel: British and French Painting in the Age of Romanticism (2003); Matisse: The Fabric of Dreams—His Art and His Textiles (2005); Girodet: Romantic Rebel (2006); and Cézanne to Picasso: Ambroise Vollard, Patron of the Avant-Garde (2006). Many of these exhibitions were mounted in collaboration with, and traveled to, major museums the world over. Mr. Tinterow has also organized a number of recent exhibitions featuring contemporary artists including Tony Oursler at the Met: Studio and Climaxed (2005); Santiago Calatrava: Sculpture into Architecture (2005); Kara Walker at the Met: After the Deluge (2006); Cai Guo-Qiang on the Roof: Transparent Monument (2006); Frank Stella on the Roof and Frank Stella: Painting into Architecture (2007); and Neo Rauch at the Met: para (2007).
The author, co-author and contributor to dozens of scholarly articles and major exhibition catalogues, he has lectured at museums throughout the world, and taught at Harvard, the Institute of Fine Arts at New York University, and Hunter College. Mr. Tinterow's many awards and citations include several honors for best catalogues and exhibitions from a number of professional organizations. He was made Chevalier of the French Legion of Honor in 2000, and Officer of the French Order of Arts and Letters in 2003. Mr. Tinterow is also a founding trustee of the national Association of Art Museum Curators, serving as Interim President from 2001 until 2003 and Vice-President from 2003 until 2005.
Zoé Nicole Whitley, Curator, Contemporary Programmes, Victoria and Albert Museum, London
Zoé Nicole Whitley is Curator of Contemporary Programmes at the Victoria and Albert Museum in London where she has worked sine starting her M.A. studies in Design History at the Royal College of Art in 2001. Since joining Contemporary in 2005, she has organized several critically acclaimed projects, commission and exhibitions, including Che Guevara: Revolutionary and Icon (Summer 2006) and curated Uncomfortable Truths: the shadow of slave trading on contemporary art & design (Spring 2007, now touring nationally). She began her curatorial career in 2003 as an Assistant Curator then as Bursary Curator of the Schreyer Poster Collection in the Word & Image Department.
A U.S. citizen raised on both the East and West coasts of the States, she attended the prestigious Lycée Français de Los Angeles and Harvard-Westlake School before graduating with High Honors from Swarthmore College, majoring in Art History and minoring in French. While at Swarthmore, Zoé worked on campus in the List Gallery and first experienced museum work through a paid Getty Multicultural Summer Internship at the Los Angeles County Museum of Art (LACMA) in the Costume & Textiles Department.
Zoé has worked as a visiting lecturer at the Royal College of Art, London and at Kingston University, Surrey and has been published on a wide range of topics, with specialist knowledge in race representation, graphic design and fashion history. She participates in a number of advisory boards, including the Africa Beyond Steering Group. Whitley is a Fellow of the Royal Society for the Encouragement of the Arts (FRSA).
Laurie Winters, Curator of Earlier European Art, Milwaukee Art Museum
Laurie Winters' academic specialty is French and Central European painting, but as the curator of earlier European art at the Milwaukee Art Museum she is responsible for a wide spectrum of periods and media. Since joining the Museum in 1997, she has organized numerous successful exhibitions, including A Renaissance Treasury; Leonardo da Vinci and the Splendor of Poland: A History of Collecting and Patronage; Rembrandt and His Time: Masterworks from the Albertina; and most recently Biedermeier: The Invention of Simplicity. In 2002, Leonardo da Vinci and the Splendor of Poland was named one of the top five exhibitions of the year by Apollo magazine and earned Winters Poland's Cavalier's Cross of the Order of Merit. Biedermeier, still on tour, has been recognized as a model of international collaboration, with venues at the Albertina, the Deutsches Historisches Museum – Berlin, and the Musée du Louvre.
Winters has written numerous articles and essays for exhibition and collection catalogues and a variety of art journals. The Biedermeier catalogue has received critical acclaim for its scholarship and design and was named Book of the Year (2007) at the Vienna Art Fair. She has lectured on such diverse topics as "Blockbusters with Brains: Steering a Course between Disneyland and the Ivory Tower," "The Legal Machinery of War and Exhibitions," and "The Spoils of War: Warsaw after 1945." Her many academic honors include a Fulbright Fellowship and the Marvin Eisenberg Fellowship for outstanding achievement, which she received as a graduate student at the University of Michigan.
In her many Museum responsibilities, Winters spearheaded the complete renovation and reinstallation of eleven ancient and European galleries. She is also curatorial advisor for a committee that oversees European acquisitions and collections, and for a support group whose primary interest is educational programming and fundraising. She is also active in various cultural activities in the community. Underpinning Winters's broad interests in European art is an extensive teaching background as an Adjunct and Assistant Professor of Art History.
Front Row (l to r): Paola Morsiani, Elizabeth Armstrong, Zoé Whitley, Richard Rand
Mentor & Residency Hosts 2008
Elizabeth Armstrong, Deputy Director and Chief Curator, Orange County Museum of Art
MENTOR: Jock Reynolds, Director, Yale University Art Gallery
RESIDENCY: James Cuno, Director, Art Institute of Chicago
Colin B. Bailey, Associate Director and Peter J. Sharp Chief Curator, Frick Collection
MENTOR: Emily Rafferty, President, Metropolitan Museum of Art
RESIDENCY: Henri Loyrette, President and Director, Musée du Louvre
Silvia Karman Cubiña, Director and Chief Curator, Moore Space, Miami
MENTOR: Thelma Golden, Director, Studio Museum in Harlem
RESIDENCY: Nancy Spector, Chief Curator, Guggenheim Museum
Eleanor Jones Harvey, Chief Curator, Smithsonian American Art Museum
MENTOR: Gail Andrews, Director, Birmingham Museum of Art
RESIDENCY: Mary Sue Sweeney Price, Director, Newark Museum
Paola Morsiani, Curator of Contemporary Art, Cleveland Museum of Art
MENTOR: Susana Torruella Leval, Director Emeritus, El Museum del Barrio
RESIDENCY: Anne Philbin, Director, Hammer Museum
Jordana Pomeroy, Senior Curator, National Museum of Women in the Arts
MENTOR: Kimerly Rorschach, Director, Nasher Museum at Duke University
RESIDENCY: Mimi Gardner Gates, Director, Seattle Art Museum
Richard Rand, Senior Curator, Sterling and Francine Clark Art Institute
MENTOR: William Griswold, Director, The Morgan Library & Museum
RESIDENCY: Maxwell Anderson, Director, Indianapolis Museum of Art
Gary Tinterow, Curator in Charge, Nineteenth Century, Modern and Contemporary Art, Metropolitan Museum of Art
MENTOR: Reynold Levy, President, Lincoln Center for the Performing Arts
RESIDENCY: Neil MacGregor, Director, The British Museum
Zoé Nicole Whitley, Curator, Contemporary Programmes, Victoria and Albert Museum, London
MENTOR: Axel Ruger, Director, Van Gogh Museum
RESIDENCY: Olga Viso, Director, Walker Art Center
Laurie Winters, Curator of Earlier European Art, Milwaukee Art Museum
MENTOR: Brent Benjamin, Director, Saint Louis Art Museum
RESIDENCY: Michael Shapiro, Director, High Museum of Art
2008 Fellows
Elizabeth Armstrong, Deputy Director and Chief Curator, Orange County Museum of Art
As Deputy Director for Programs and Chief Curator at the Orange County Museum of Art (OCMA) since April 2001, Elizabeth N. Armstrong manages the exhibitions and educational programs at the museum's Newport Beach and Costa Mesa locations. From December 2001 until April 2003, she served as both Acting Director and Chief Curator, overseeing the overall management of the museum, in addition to its artistic programs and new strategic plan. Exhibitions to her credit at OCMA include Birth of Cool: California Art, Design, and Culture at Midcentury (2007); Mary Heilmann: To Be Someone (2007); the 2004 and 2006 California Biennials; Villa America: American Moderns, 1900-1950 (2005); Girls' Night Out (2003).
Prior to joining the OCMA staff, Armstrong served as Senior Curator at the Museum of Contemporary Art, San Diego (MCA), where she managed such special artistic initiatives as the PanAmerican Project and Ojos Diversos/With Different Eyes. At the MCA, she also curated a number of exhibitions including one-person shows of work by Silvia Gruner, Valeska Soares, and David Reed, and a major touring exhibition and publication Ultrabaroque: Aspects of Post-Latin American Art (2000).
Prior to her appointments in California, Armstrong was a curator at the Walker Art Center in Minneapolis from 1982-1996. Among many of the exhibitions that she organized while at the Walker are In a Restless World: Peter Fischli and David Weiss; Duchamp's Leg; Robert Motherwell: The Collaged Image; In the Spirit of Fluxus; and Jasper Johns: Printed Symbols. She has lectured widely at such cultural institutions as SITE Santa Fe, San Diego Museum of Art, Miami Art Museum, Walker Art Center, Philadelphia Museum of Art, Wexner Art Center, and the University of Minnesota. She has published numerous books and catalogues on contemporary art, and her articles have appeared in Artforum; Arts Magazine; Art Review; OCTOBER; Print Quarterly; and Print Collector's Newsletter. Armstrong received her M.A. in the History of Art from the University of California, Berkeley, and B.A. in American Studies from Hampshire College, Amherst, Massachusetts.
Colin B. Bailey, Associate Director and Peter J. Sharp Chief Curator, Frick Collection
Colin B. Bailey is the Peter Jay Sharp Chief Curator of The Frick Collection, and is responsible for the institution's Curatorial, Conservation, Registration, Education and Publications Departments. He received his doctorate of philosophy from Oxford University in 1985 and has held positions at The J. Paul Getty Museum in Malibu; the Philadelphia Museum of Art; the Kimbell Art Museum in Fort Worth; and the National Gallery of Canada in Ottawa, where he was Deputy Director and Chief Curator. He is the author of several books and catalogues, among them The Loves of the Gods: Mythological Painting from Watteau to David (Rizzoli International 1992), The Age of Watteau, Chardin and Fragonard: Masterpieces of French Eighteenth-Century Genre Painting (National Gallery of Canada and Yale University Press 2003); Patriotic Taste: Collecting Modern Art in Pre-Revolutionary Paris (Yale University Press 2002), for which he won the 2004 Mitchell Prize for the best art history book of the year for 2002 and 2003; Renoir's Portraits: Impressions of an Age (Yale University Press 1997). He has taught graduate seminars in 18th-century French art at Bryn Mawr and Columbia Universities.
In addition, Bailey has written numerous articles and scholarly essays, lectured at art institutions across the country, and organized many exhibitions, including Memling's Portraits, Jean-Etienne Liotard (1702-1789): Masterpieces from Genevan Collections, and George Stubbs at The Frick Collection. His most recent projects are Gabriel de Saint-Aubin, a collaborative exhibition with the Musée du Louvre, Paris; and Renoir's Landscapes 1867-1883 for the National Gallery, London, the National Gallery of Canada, Ottawa and the Philadelphia Museum of Art. Bailey is presently a trustee of the Association of Art Museum Curators, having served as Secretary of the Association between 2005 and 2007. He was made a Chevalier des Arts et des Lettres in 1994.
Silvia Karman Cubiña, Director and Chief Curator, Moore Space, Miami
Silvia Karman Cubiñá has served as the Director of the Moore Space since 2002 and has worked as an Independent Curator since 1997. Previously, she held the position of Adjunct curator at inova, the Institute of Visual Arts; University of Wisconsin, Milwaukee; and held positions at The Mexican Museum in San Francisco and the Cuban Museum of Art in Miami. At the Moore Space, she has organized exhibition projects with artists such as: Allora & Calzadilla, Carlos Amorales, John Bock, Sean Dack, Jeppe Hein, Tracey + The Plastics, Jonathan Monk, Aida Ruilova, Hernan Bas, Jim Lambie, Patty Chang, Joan Jonas, Yang Fudong, and numerous group exhibitions. In 2007 Ms. Cubina is working on French Kissing in the USA, a group exhibition that takes its title from a 1986 hit song by Blondie, to present the emerging scene of French artists. Independently, Ms. Cubina has worked on exhibitions such as None of the Above: Contemporary Work by Puerto Rican Artists at Real Art Ways, Hartford, CT; Quirky, Odd and Out of Sorts at MACLA, San Jose, CA; Landmark/Allora & Calzadilla at the Escuela de Artes Plasticas in San Jan; Quisqueya Henríquez; Habitat en Tránsito/Piñones (In-Situ), Javier Cambre's project for the 2002 Biennial Exhibition of the Whitney Museum of American Art; Pepón Osorio: Door to Door at Museo de Arte de Puerto Rico in San Juan; Arte del Nuevo Medio: Doce Propuestas Electrónicas at the Museo de Arte Contemporaneo de Puerto Rico; and she was the Puerto Rico commissioner to the 1997 Bienal de Sao Paolo. She has participated in Project Rooms at ARCO and ArtMiami, has lectured extensively and participated in numerous grant panels and award selection committees, most recently as a juror to the Guggenheim Museum's Hugo Boss Award for 2006. In 2007, she was a finalist for the Walter Hopps Award for Curatorial Achievement.
Eleanor Jones Harvey, Chief Curator, Smithsonian American Art Museum
Eleanor Harvey has served as the Chief Curator at the Smithsonian American Art Museum since September 2003. She oversees the curatorial and conservation staffs, including the Lunder Conservation Center, its acquisitions and collections programs, and supervised the reinstallation of the permanent collection for the museum's reopening in July 2006. She also worked briefly on SAAM's Henry Luce Foundation Center for American Art, which features close to 3500 works of art not previously available to the public.
Previously, Dr. Harvey was curator of American art at the Dallas Museum of Art in Texas. During her tenure (1992-2002), she organized several exhibitions, including The Painted Sketch: American Impressions from Natures, 1830-1880 (1998), Thomas Moran and the Spirit of Place (2001) and The Voyage of the Icebergs: Frederic Church's Arctic Masterpiece (2002). She oversaw the 1992 reinstallation of the permanent collection galleries for American art in the new Hamon Building at the Dallas Museum.
Dr. Harvey has written several books and numerous articles. The Painted Sketch: American Impressions from Natures, 1830-1880 (1998), based on Dr. Harvey's dissertations, won the 1999 Henry Russell Hitchcock Award from the Victorian Society of America as the most significant contribution to 19th-century fine arts studies. Her essay on artist Sanford R. Gifford appears in the exhibition catalogue Hudson River School Vision: The Landscapes of Sanford R. Gifford (2003). Her most recent book is An Impressionist Sensibility: The Halff Collection, which accompanied the museum's exhibition of Marie and Hugh Halff's private collection.
She earned a bachelor's degree with distinction in the history of art from the University of Virginia in 1983, and holds both a master's degree (1985) and doctorate in art history (1998) from Yale University. She is currently working on an exhibition titled Reconstructing America, 1859-1878 on the impact of the Civil War and the Reconstruction on American art.
Paola Morsiani, Curator of Contemporary Art, Cleveland Museum of Art
Paola Morsiani is currently Senior Curator at the Contemporary Arts Museum Houston, where she has worked since April 1999. Morsiani received her Laurea in art history and history of criticism from the University of Padua in Italy, and an MA in Arts Administration from New York University. Prior to joining the Contemporary Arts Museum, she worked in curatorial departments in American museums since 1994—at the Drawing Center and at the Queens Museum in New York, and in Pittsburgh, PA, at the Carnegie Museum of Art. She independently curated shows in Italy, for PS122 Gallery, New York, and Art & Idea, Mexico City, among others institutions. Morsiani has also contributed critical essays to numerous exhibition catalogues and journals on artists such as Inka Essenhigh, Nader Ahriman, Adrian Paci, and Matthew Sontheimer, and on contemporary video and film. On January 1, 2008, she will join the Cleveland Museum of Art, as Curator of Contemporary Art.
Morsiani has curated a number of internationally acclaimed exhibitions at the CAMH, including Wishing for Synchronicity: Works by Pipilotti Rist (2006), Andrea Zittel: Critical Space (2005, co-organized with the New Museum of Contemporary Art, New York), Fade In: New Film and Video (2004), When 1 is 2: The Art of Alighiero e Boetti (2002), and Subject Plural: Crowds in Contemporary Art (2001). Morsiani has also curated several Perspectives series exhibitions, including Perspectives 152: Adrian Paci (2005), Perspectives 144: Amalgama (2005), Abraham Cruzvillegas (2003), Relative Positions: Amy Adler, Liza May Post, Francesca Woodman (2001) and Dario Robleto: I Thought I Knew Negation Until You Said Goodbye (2001). A catalogue accompanies each exhibition, with essays by Morsiani and other writers.
Morsiani is currently working on the exhibition Perspectives 159: Superconscious, Automatisms Now (December 2007), which explores the use of stream of consciousness in the work of Rachel Harrison, Sean Landers, Oliver Payne and Nick Relph, and Danica Pehlps. At the Cleveland Museum of Art, her first project will consists in the reinstallation of the contemporary collection for the reopening of the new museum's wing in March 2009.
Jordana Pomeroy, Senior Curator, National Museum of Women in the Arts
Jordana Pomeroy received her A.B. in Art History from Bryn Mawr College and her Ph.D. from Columbia University. Her dissertation "Collecting the Past to Create a Future: The Old Masters, Artists, and Patrons in Early Nineteenth-Century England" addressed the influx of paintings from the Continent during the warfare following the French Revolution,the opening up of private collections; and the establishment of the British Institution and The National Gallery. Pomeroy has published and spoken widely on the subject of patronage and collecting. In 2006 she published Intrepid Women: Victorian Artists Travel (Ashgate), a series of essays on artistic voyagers who ventured beyond the traditional Grand Tour. She received a postdoctoral fellowship from the Paul Mellon Centre for Studies in British Art and has received numerous grants for exhibitions and catalogues at the National Museum of Women in the Arts, where she is the Senior Curator. She has organized many exhibitions at the National Museum of Women in the Arts including, An Imperial Collection: Women Artists from the State Hermitage Museum; Nordic Cool: Hot Women Designers; Berthe Morisot: An Impressionist and her Circle; and Italian Women Artists from Renaissance to Baroque. She is currently working on an exhibition of late eighteenth-century French women artists.
Richard Rand, Senior Curator, Sterling and Francine Clark Art Institute
Richard Rand has been Senior Curator and Curator of Paintings and Sculpture at the Sterling and Francine Clark Art Institute since 1997. He is also a lecturer in art history in the Williams College/Clark Graduate Program in the History of Art. He has held curatorial appointments at the Los Angeles County Museum of Art (1989-1992) and the Hood Museum of Art, Dartmouth College (1992-1997). Rand has lectured and published widely in his field of research, 17th-19th-century French art. He is a regular contributor to Burlington Magazine, writing exhibition and book reviews. Rand has organized and co-organized numerous exhibitions, including Intimate Encounters: Love and Domesticity in Eighteenth-Century France (1997); Jean-Francois Millet: Drawn into the Light (1999); Turner: the Late Seascapes (2003); and Jacques-Louis David: Empire to Exile (2005). Most recently, he organized an exhibition of drawings, prints, and paintings by Claude Lorrain for the Clark that traveled to the Fine Arts Museums of San Francisco and the National Gallery of Art in Washington (2006-7). Rand received his B.A. from Bowdoin College and Ph.D. from the University of Michigan, Ann Arbor, writing a dissertation on the landscapes of Fragonard. Born in 1961, Rand is the son of a retired diplomat, and grew up living in Europe and Asia. He is married to art historian Kelly Pask, with whom he has a ten-year-old daughter, Charlotte.
Gary Tinterow, Curator in Charge, Nineteenth Century, Modern and Contemporary Art, Metropolitan Museum of Art
Gary Tinterow is the Engelhard Curator in Charge of the Department of Nineteenth-Century, Modern, and Contemporary Art at The Metropolitan Museum of Art. Mr. Tinterow served as Engelhard Curator of Nineteenth-Century European Paintings from 1983 until 2004 after coming to the Museum as a Theodore Rousseau Fellow in 1982. A native of Houston, Texas, Mr. Tinterow graduated magna cum laude from Brandeis University, and received his graduate degree from Harvard University. He spent the early years of his career as a curatorial assistant at the Israel Museum in Jerusalem, the Rose Art Museum at Brandeis (where he later served as acting curator), the Museum of Fine Arts, Houston, the Fogg Art Museum at Harvard (in the drawings department), and the Tate Gallery, London, as a guest curator.
At the Met, the exhibitions he has organized—often with colleagues on staff—have included a number of the best-attended shows ever mounted by the Museum. Among them are Degas (1988); From Poussin to Matisse: The Russian Taste for French Painting (1990); Seurat (1991); Splendid Legacy: The Havemeyer Collection (1993); Origins of Impressionism (1994); Corot (1996); The Private Collection of Edgar Degas (1997); Portraits by Ingres: Image of an Epoch (1999); Manet/Velazquez: The French Taste for Spanish Painting (2002); A Private Passion: 19th-Century Paintings and Drawings from the Grenville L. Winthrop Collection, Harvard University (2003); Crossing the Channel: British and French Painting in the Age of Romanticism (2003); Matisse: The Fabric of Dreams—His Art and His Textiles (2005); Girodet: Romantic Rebel (2006); and Cézanne to Picasso: Ambroise Vollard, Patron of the Avant-Garde (2006). Many of these exhibitions were mounted in collaboration with, and traveled to, major museums the world over. Mr. Tinterow has also organized a number of recent exhibitions featuring contemporary artists including Tony Oursler at the Met: Studio and Climaxed (2005); Santiago Calatrava: Sculpture into Architecture (2005); Kara Walker at the Met: After the Deluge (2006); Cai Guo-Qiang on the Roof: Transparent Monument (2006); Frank Stella on the Roof and Frank Stella: Painting into Architecture (2007); and Neo Rauch at the Met: para (2007).
The author, co-author and contributor to dozens of scholarly articles and major exhibition catalogues, he has lectured at museums throughout the world, and taught at Harvard, the Institute of Fine Arts at New York University, and Hunter College. Mr. Tinterow's many awards and citations include several honors for best catalogues and exhibitions from a number of professional organizations. He was made Chevalier of the French Legion of Honor in 2000, and Officer of the French Order of Arts and Letters in 2003. Mr. Tinterow is also a founding trustee of the national Association of Art Museum Curators, serving as Interim President from 2001 until 2003 and Vice-President from 2003 until 2005.
Zoé Nicole Whitley, Curator, Contemporary Programmes, Victoria and Albert Museum, London
Zoé Nicole Whitley is Curator of Contemporary Programmes at the Victoria and Albert Museum in London where she has worked sine starting her M.A. studies in Design History at the Royal College of Art in 2001. Since joining Contemporary in 2005, she has organized several critically acclaimed projects, commission and exhibitions, including Che Guevara: Revolutionary and Icon (Summer 2006) and curated Uncomfortable Truths: the shadow of slave trading on contemporary art & design (Spring 2007, now touring nationally). She began her curatorial career in 2003 as an Assistant Curator then as Bursary Curator of the Schreyer Poster Collection in the Word & Image Department.
A U.S. citizen raised on both the East and West coasts of the States, she attended the prestigious Lycée Français de Los Angeles and Harvard-Westlake School before graduating with High Honors from Swarthmore College, majoring in Art History and minoring in French. While at Swarthmore, Zoé worked on campus in the List Gallery and first experienced museum work through a paid Getty Multicultural Summer Internship at the Los Angeles County Museum of Art (LACMA) in the Costume & Textiles Department.
Zoé has worked as a visiting lecturer at the Royal College of Art, London and at Kingston University, Surrey and has been published on a wide range of topics, with specialist knowledge in race representation, graphic design and fashion history. She participates in a number of advisory boards, including the Africa Beyond Steering Group. Whitley is a Fellow of the Royal Society for the Encouragement of the Arts (FRSA).
Laurie Winters, Curator of Earlier European Art, Milwaukee Art Museum
Laurie Winters' academic specialty is French and Central European painting, but as the curator of earlier European art at the Milwaukee Art Museum she is responsible for a wide spectrum of periods and media. Since joining the Museum in 1997, she has organized numerous successful exhibitions, including A Renaissance Treasury; Leonardo da Vinci and the Splendor of Poland: A History of Collecting and Patronage; Rembrandt and His Time: Masterworks from the Albertina; and most recently Biedermeier: The Invention of Simplicity. In 2002, Leonardo da Vinci and the Splendor of Poland was named one of the top five exhibitions of the year by Apollo magazine and earned Winters Poland's Cavalier's Cross of the Order of Merit. Biedermeier, still on tour, has been recognized as a model of international collaboration, with venues at the Albertina, the Deutsches Historisches Museum – Berlin, and the Musée du Louvre.
Winters has written numerous articles and essays for exhibition and collection catalogues and a variety of art journals. The Biedermeier catalogue has received critical acclaim for its scholarship and design and was named Book of the Year (2007) at the Vienna Art Fair. She has lectured on such diverse topics as "Blockbusters with Brains: Steering a Course between Disneyland and the Ivory Tower," "The Legal Machinery of War and Exhibitions," and "The Spoils of War: Warsaw after 1945." Her many academic honors include a Fulbright Fellowship and the Marvin Eisenberg Fellowship for outstanding achievement, which she received as a graduate student at the University of Michigan.
In her many Museum responsibilities, Winters spearheaded the complete renovation and reinstallation of eleven ancient and European galleries. She is also curatorial advisor for a committee that oversees European acquisitions and collections, and for a support group whose primary interest is educational programming and fundraising. She is also active in various cultural activities in the community. Underpinning Winters's broad interests in European art is an extensive teaching background as an Adjunct and Assistant Professor of Art History.
