CCL Fellowship Participants

William Keyse Rudolph is the Andrew W. Mellon Chief Curator and Marie and Hugh Halff Curator of American Art at the San Antonio Museum of Art. He leads the Curatorial, Collections, and Exhibits teams, who execute 11–12 special exhibitions each year and care for nearly 30,000 objects. He previously served as a curator at the Dallas Museum of Art, the Worcester Art Museum, and the Milwaukee Art Museum. His exhibitions as organizing curator/co-curator include Highest Heaven: Spanish and Portuguese Colonial Art from the Roberta and Richard Huber Collection; Thomas Sully: Painted Performance; In Search of Julien Hudson: Free Artist of Color in Pre-Civil War New Orleans; and Bluebonnets and Beyond: Julian Onderdonk, American Impressionist. 

Rudolph earned a B.A. from the University of Nebraska, a post-graduate diploma from the Courtauld Institute of Art, an M.A. from the University of Virginia, and a Ph.D. from Bryn Mawr College. He was a trustee of the Association of Art Museum Curators from 2010–2016

Pierre Terjanian is the Arthur Ochs Sulzberger Curator in Charge of The Metropolitan Museum of Art’s Department of Arms and Armor.  The collection in his care consists of over 14,000 outstanding works from Europe, the Middle East, Asia, and America, which in date range from the Bronze Age to the twentieth century.  A specialist in medieval and Renaissance European armor, Pierre is now expanding his interests into new areas, including the ancient world, and is keen to uphold the encyclopedic vocation of his Department, which since its establishment in 1912 has been to collect and present significant works of art across all times and cultures.

A native of Strasbourg, France, Pierre was educated in law, management, and history before working at the Philadelphia Museum of Art, where he oversaw the museum’s Kretzschmar von Kienbusch Collection of arms and armor (1997–2012) and the Department of European Decorative Arts before 1700 (2005–2012).  He joined The Metropolitan Museum of Art as Curator in the Department of Arms and Armor in 2012 and was appointed to Curator in Charge the following year.  His latest publications include two articles on rediscovered albums of drawings in the Jahrbuch des Kunsthistorischen Museums Wien.

As the McNay Art Museum’s third director and first-ever Hispanic director, Richard Aste’s vision for the first modern art Museum in Texas brings its mission--of engaging a diverse community in the discovery and enjoyment of the visual arts--to life. By focusing on artistic excellence and community impact, Aste champions inclusive, engaging, and impactful exhibitions and programming. As a first time CEO, he has mastered the demands of leadership by building an engaged team, reimagining the museum experience, and cultivating a welcoming atmosphere for all. Aste is a graduate of the Center for Curatorial Leadership (2016) and Harvard Business School's Executive Program, Strategic Perspectives in Nonprofit Management (2017).

Peter Barberie is the Brodsky Curator of Photographs, Alfred Stieglitz Center, at the Philadelphia Museum of Art. His exhibition projects include Zoe Strauss: 10 Years (2012), a survey of the artist’s decade-long project to show her work in disused public spaces; and Paul Strand: Master of Modern Photography (2014), an in-depth retrospective of Strand’s pioneering career in photography and film. Previously, as the Museum’s Horace W. Goldsmith Curatorial Fellow, he organized the exhibition Looking at Atget (2005), and co-curated Dreaming in Black and White: Photography at the Julien Levy Gallery (2007). In 2008 he was guest curator at the Morgan Library and Museum for the exhibition Close Encounters: Irving Penn Portraits of Artists and Writers.

Mr. Barberie holds his B.A. in art history from the University of Connecticut, Storrs, and his M.A. and Ph.D. in the history of photography and modern art from Princeton University. 

Caroline Campbell is Head of the Curatorial Department and Curator of Italian Paintings before 1500 at the National Gallery, London.  Earlier in her career, Caroline held curatorial positions at The Courtauld Gallery, London (where she was Curator of Paintings from 2005-12), the National Gallery and the Ashmolean Museum, Oxford.

Born in Belfast, Caroline was educated at University College, Oxford and the Courtauld Institute of Art, London.  Her interests encompass the interaction of Byzantine and Italian painting, Cranach, Cézanne and the twentieth century, but Italian Medieval and Renaissance painting and its reception are at the heart of her work as a curator and scholar.  She has curated and co-curated many exhibitions, including Bellini and the East (2005-06), Love and Marriage in Renaissance Florence (2009); Building the Picture: Architecture in Italian Renaissance Painting (2014) and Duccio/Caro: In Dialogue (2015).

Doryun Chong was appointed the inaugural Chief Curator at M+, Hong Kong in September 2013 and became Deputy Director and Chief Curator in January 2016. M+, a museum of 20th and 21st-century visual culture at the West Kowloon Cultural District, will open its Herzog and de Meuron-designed buidling in late 2019. At M+, He oversees all curatorial activities, including exhibitions and symposia, acquisitions for the collection, as well as learning and interpretation programs at M+. He is also a co-curator, with Stella Fong, of the one-person presentation of Tsang Kin-Wah at the Hong Kong pavilion in the 2015 Venice Biennale. Previously Chong was Associate Curator of Painting and Sculpture at MoMA, where he organized contemporary exhibitions and acquired works for the museum’s collection. At MoMA, he organized Bruce Nauman: Days (2010) and Projects 94: Henrik Olesen (2011), and Tokyo 1955-1970: A New Avant-Garde (2012), and co-edited From Postwar to Postmodern, Art in Japan, 1945-1989: Primary Documents (2013), the first anthology in English of critical documents in the histories of postwar Japanese art, design, and architecture.

Prior to his appointment at MoMA in 2009, Chong held various positions a curator in the Visual Arts department at the Walker Art Center in Minneapolis from 2003 to 2009, and co-organized exhibitions including Haegue Yang: Integrity of the Insider (2009-10); Tetsumi Kudo: Garden of Metamorphosis (2008); Brave New Worlds (2007); and House of Oracles: A Huang Yong Ping Retrospective (2005), which traveled to Ullens Center for Contemporary Art in Beijing, among other venues. He has also curated or coordinated exhibitions at venues including REDCAT, Los Angeles, the 2006 Busan Biennale, and the Korean Pavilion at the 2001 Venice Biennale, and his writings have appeared in journals such as Artforum, Afterall, The Exhibitionist, and Parkett, and museum and biennale publications by the Auckland Triennial, the Gwangju Biennale, Kunsthaus Bregenz, Mori Art Museum, Tokyo, and National Museum of Modern And Contemporary Art, Korea. Chong is the recipient of the first ICI Gerrit Lansing Independent Vision Award in 2010. He has served on numerous prize juries, including recently the 2015 Hugo Boss Prize, Absolut Art Award, and Contemporary Chinese Art Award.

Jay A. Clarke is Manton Curator of Prints, Drawings, and Photographs at the Sterling and Francine Clark Art Institute. From 1997 to 2009 she served as a curator in the Department of Prints and Drawings at the Art Institute of Chicago. Clarke has been a lecturer in the Graduate Program in the History of Art at Williams College since 2009. She is author of Becoming Edvard Munch: Influence, Anxiety, and Myth (2009) and editor of Landscape, Innovation, and Nostalgia: The Manton Collection of British Art (2012); The Impressionist Line from Edgar Degas to Toulouse-Lautrec (2013); and Hurricanes Waves: Clifford Ross (2015). Clarke has curated exhibitions on a wide variety of artists from Albrecht Dürer to Pablo Picasso to Thomas Struth. She has published articles on Käthe Kollwitz, Max Beckmann, Edvard Munch, the art dealer and critic Julius Meier-Graefe, and the British linocut movement. Clarke received her M.A. and Ph.D. from Brown University.

Susan Fisher is Director of Collections at the Brooklyn Museum. From 2009-17, she was Executive Director and Chief Curator at the Renee & Chaim Gross Foundation, the Greenwich Village historic townhouse and sculpture studio of American artist Chaim Gross (1904-91). She has previously served as the inaugural Horace W. Goldsmith Associate Curator of Modern and Contemporary Art at the Yale University Art Gallery and on the curatorial staff at the Guggenheim Museum.  The curator and author of Picasso and the Allure of Language (Yale University Press, 2009) and over a dozen articles, she has taught modern art history and museum studies at Fairfield University and Yale University and has lectured nationally and internationally on 19th-century and modern art. She holds a PhD and MA from Yale University and a BA from Oberlin College.

Vera Ingrid Grant is the director of the Ethelbert Cooper Gallery of African & African American Art at the Hutchins Center, Harvard University. She most recently curated THE WOVEN ARC (Summer 2016); the Art of Jazz: NOTES (Spring 2016) at the Cooper Gallery; and The Persuasions of Montford at the Boston Center for the Arts (Spring 2015). Her curatorial approach leverages theories of visual culture to create an immersive exhibition experience charged with object driven dialogues.  Grant is a Fulbright Scholar (University of Hamburg), has an MA in Modern European History from Stanford University,  and is currently a fellow (2015-16) at the Center for Curatorial Leadership (CCL). Her recent publications include: Luminós/C/ity.Ordinary Joy, as editor; and author of: “E2: Extraction/Exhibition Dynamics” (Harvard University Press, January 2015); “Visual Culture and the Occupation of the Rhineland,” The Image of the Black in Western Art, Vol. 5, The Twentieth Century, (Harvard University Press, February 2014); and “White Shame/Black Agency: Race as a Weapon in Post-World War I Diplomacy” in African Americans in American Foreign Policy, (University of Illinois Press, February 2014).

Randall R. Griffey is Associate Curator of Modern and Contemporary Art at the Metropolitan Museum of Art. Prior to the Metropolitan, Griffey held curatorial positions at the Nelson-Atkins Museum of Art (1999 – 2008) and the Mead Art Museum, Amherst College (2008 – 2012).  At the Metropolitan, Griffey has organized Reimagining Modernism: 1900 – 1950, a comprehensive reinterpretation of the museum’s collections of European and American modern painting, sculpture, photography, works on paper, and design. He also co-curated Thomas Hart Benton’sAmerica Today Mural Rediscovered.  Among his publications are the journal article “Marsden Hartley’s Aryanism: Eugenics in aFinnish‐Yankee Sauna,” in American Art (Smithsonian Institution) in 2008 and the essay “Reconsidering ‘The Soil’: The Stieglitz Circle, Regionalism, and Cultural Eugenics in the 1920s,” in the Brooklyn Museum’s exhibition Youth and Beauty: Art of the American Twenties in 2011. Both of these publications were recognized with awards from the Association of Art Museum Curators.

Valerie Hillings, PhD, is Curator and Manager, Curatorial Affairs, Abu Dhabi Project, at the Solomon R. Guggenheim Foundation. She leads the curatorial team responsible for building a collection of art made around the world since the 1960s and developing exhibitions and programming for the future Guggenheim Abu Dhabi.

Since 2004, she has curated and co-curated exhibitions throughout the Guggenheim’s constellation of museums, among them Russia!; Hanne Darboven's Hommage à Picasso; Picturing America: Photorealism in the 1970s, and most recently ZERO: Countdown to Tomorrow, 1950s-60s. In addition, she has organized major presentations of works from the Guggenheim Museum’s collection for venues in Abu Dhabi, Australia, and Germany.

Hillings earned her BA in art history from Duke University and her MA and PhD in art history from the Institute of Fine Arts, New York University.

Theresa Papanikolas, Ph.D. joined the Seattle Art Museum in 2019 as its Ann M. Barwick Curator of American Art. Prior to that, she was Deputy Director of Art and Programs and Curator of European and American Art at the Honolulu Museum of Art, where she led an innovative reinstallation of its holdings in European and American art and organized the exhibitions From Whistler to Warhol: Modernism on Paper (2010), Georgia O’Keeffe and Ansel Adams: The Hawaiʻi Pictures (2013), Art Deco Hawaiʻi (2014), and Abstract Expressionism: Looking East from the Far West (2017). Through these projects and others she helped position the museum as the cultural hub of one of the country’s most diverse metropolitan areas. She is also the curator of the New York Botanicals 2018 garden-wide summer show, Georgia O’Keeffe: Visions of Hawaii.

From 2006 to 2008, Dr. Papanikolas was Wallis Annenberg Curatorial Fellow at the Los Angeles County Museum of Art, where she organized Doctrinal Nourishment: Art and Anarchism in the Time of James Ensor (2008) and helped plan Drawing Surrealism (2012). She has also held positions at Rice University, the Museum of Fine Arts, Houston, and Contemporary Arts Museum Houston. She has expertise in 19th- and 20th-century American art, and has published widely on Dada and Surrealism. She holds degrees in Art History from University of the Southern California (BA) and the University of Delaware (MA, Ph.D.), and has completed a Fellowship at the Center for Curatorial Leadership (2016).