CCL Fellowship Participants

Ian Alteveer is the Aaron I. Fleishman Curator, Modern and Contemporary Art, at The Metropolitan Museum of Art, where he has worked since 2006.  His recent exhibition projects at The Met Breuer include a retrospective for the artist Vija Celmins (2019–20) and Everything Is Connected: Art and Conspiracy (2018–19).  For The Met and The Met Breuer he also co-curated surveys for David Hockney (2017–18), Marisa Merz (2017), and Kerry James Marshall (2016–17) and organized Roof Garden Commissions for Pierre Huyghe (2015), Dan Graham (2014), and Imran Qureshi (2013), as well as the U.S. premiere of William Kentridge: The Refusal of Time (2013). Before arriving at The Met, he was a graduate curatorial fellow and curatorial assistant at New York University’s Grey Art Gallery, where he worked on the monumental exhibition The Downtown Show: The New York Art Scene, 1974–1984. He has an undergraduate degree from Stanford University and completed his qualifying exams for a PhD at New York University’s Institute of Fine Arts in 2006.

Esther Bell is the Robert and Martha Berman Lipp Chief Curator at the Clark Art Institute in Williamstown, Massachusetts. At the Clark, Bell is responsible for the collections of paintings and sculptures, from the Renaissance to the early twentieth century. 

Prior to joining the Clark, Bell was the Curator in Charge of European Paintings at the Fine Arts Museums of San Francisco. Previously, Bell served as the Curator of Paintings, Drawings, and Sculpture at the Cincinnati Art Museum. A specialist of French art, Bell has organized and co-organized a number of exhibitions including most recently: Renoir: The Body, The Senses (Clark Art Institute and Kimbell Art Museum, 2019-2020); Degas, Impressionism, and the Paris Millinery Trade (Fine Arts Museums of San Francisco and Saint Louis Art Museum, 2017); The Brothers Le Nain: Painters of Seventeenth-Century France (Fine Arts Museums of San Francisco, Kimbell Art Museum, Musée du Louvre, 2016-2017). 

She received her Ph.D. from the Institute of Fine Arts, New York University; a M.A. from Williams College; and a B.A. from the University of Virginia. Bell is a visiting lecturer in the Williams College Graduate Program in the History of Art.

Connie Butler is chief curator at the Hammer Museum, where since 2013 she has organized numerous exhibitions including Lari Pittman: Declaration of Independence (2019), Made in L.A. 2014, Mark Bradford: Scorched Earth (2015), and Marisa Merz: The Sky is A Great Space (2017). She co-curated Adrian Piper: A Synthesis of Intuitions, 1965–2016(2018), which opened at the Museum of Modern Art (MoMA), New York, and traveled to the Hammer Museum in fall 2018. From 2006 to 2013, she was Robert Lehman Foundation Chief Curator of Drawings at MoMA, where she co-curated Lygia Clark: The Abandonment of Art, 1948–1988 (2014); On Line: Drawing through the Twentith Century (2010) and Marlene Dumas: Measuring Your Own Grave (2008). Butler also organized the groundbreaking survey WACK! Art and the Feminist Revolution (2007) at the Museum of Contemporary Art, Los Angeles, where she was curator from 1996 to 2006. She is currently working on Witch Hunt, an international exhibition of new work by mid career artists committed to feminism which will open at the Hammer in fall 2020.

Kristen Collins is Curator of Manuscripts at the J. Paul Getty Museum. Over the past 17 years, she has curated and supervised more than 20 exhibitions from the permanent collection and co-curated two international loan shows: Holy Image, Hallowed Ground: Icons from Sinai (2006) and Canterbury and St. Albans: Treasures from Church and Cloister (2013). Dedicated to mobilizing historical collections to teach an inclusive and diverse past, she co-curated Outcasts: Prejudice and Persecution in the Middle Ages (2018) and Balthazar: A Black African King in Medieval and Renaissance Art (2019).

Recurring themes in her scholarship are transcultural exchange and resonance and reuse in the material culture of the Middle Ages and Renaissance. In addition to Icons from Sinai, she co-edited and contributed to both The St. Albans Psalter: Painting and Prayer in Medieval England(2013) and St. Albans and the Markyate Psalter: Seeing and Reading in Twelfth-Century England (2017). Other essays appear in British Art Studies (2017) and Toward a Global Middle Ages (2019).

She earned her B.A. from Mount Holyoke College; M.A. from Williams College; and Ph.D. from the University of Texas at Austin, all in art history.

Anne Ellegood started as Executive Director of ICA LA in September 2019. Previously, she held curatorial positions at the Hirshhorn and New Museum and was Senior Curator at the Hammer Museum from 2009-2019 where she oversaw Hammer Projects and Public Engagement. Ellegood organized the first retrospective of the work of Jimmie Durham (2017) and co-curated Made in L.A. 2018. Selected group exhibitions include Take It or Leave It: Institution, Image, Ideology (2014), and All of this and nothing (2011), and The Uncertainty of Objects and Ideas: Recent Sculpture (2006). Ellegood was selected by the Australian Council for the Arts to curate Hany Armanious’s 2011 Venice Biennale national pavilion. She has organized numerous solo shows, including those with Diana Al-Hadid, Kevin Beasley, Shannon Ebner, Latifa Echakhch, Charles Gaines, Yunhee Min, My Barbarian, John Outterbridge, Tschabalala Self, Frances Upritchard, and Lily van der Stokker. She has written for such journals as Artforum, Bomb Magazine, and Art Journal and penned the introduction to Phaidon’s Vitamin 3D and catalogue essays on the work of Charles Gaines, Jeffrey Gibson, Sarah Lucas, and Kerry Tribe, among others. Ellegood received her MA in Curatorial Practice from the Center for Curatorial Studies at Bard College.

Turry M. Flucker is the curator and director of the Tougaloo College Art Collections. He is the curator of the traveling exhibition Art and Activism at Tougaloo College, co- organized by the American Federation of Arts. Mr. Flucker served as visual arts director at the Mississippi Arts Commission, branch director at the Louisiana State Museum (New Orleans, Louisiana), and curator at Smith Robertson Museum (Jackson, Mississippi.)

During his time with the Louisiana State Museum in New Orleans, Mr. Flucker directed the planning and development of several special projects. While at Smith Robertson Museum in Jackson, he initiated a new exhibition program which included organizing an exhibition of works by Gwendolyn Knight Lawrence, wife of famed American painter Jacob Lawrence.

Mr. Flucker, a native of Houston, Texas is a graduate of the High School for the Performing and Visual Arts. He earned a BA in History with emphasis in African American Studies from Tougaloo College and an MA in Southern Studies with emphasis in Art History from the University of Mississippi.

Dr. Silvia Forni is Senior Curator of African Arts and Cultures, and Deputy Head of the Department of Art and Culture at the Royal Ontario Museum (ROM). 

She has curated several partial gallery reinstallations and exhibitions, including Here We Are Here: Black Canadian Contemporary Art; Isaac Julien: Other Destinies; and Art. Honour and Ridicule: Asafo Flags from Southern Ghana. Together with Julie Crooks and Dominique Fontaine, from 2015 to 2018, Dr. Forni was responsible for Of Africa, a multiplatform project aimed to support a sustained and long-term promotion of the cultural and creative diversity of Africa and its diaspora through an engagement with museum collections and in dialogue with contemporary artists and creators. Dr. Forni is also Associate Professor of anthropology at the University of Toronto and sessional lecturer on African Art at the Ontario College of Art and Design University.  

She is the author of numerous essays and book chapters. Among her recent publications is the volume Africa in the Market. 20th Century art from the Amrad African Art Collection. (2015) edited with Christopher B. Steiner, and Art, Honor, and Riducule: Fante Asafo Flags from Southern Ghana (2017), co-authored with Doran H. Ross.

Aimée Froom is curator, Art of the Islamic Worlds at the Museum of Fine Arts, Houston, and Lecturer at Rice University. In 2015, she reinstalled and expanded the MFAH permanent galleries and the al-Sabah collection; there are now over 300 works of Islamic art on view. In addition to organizing temporary exhibitions, Froom curates Collections in Conversation, annual cross-collectional installations based on a common theme. Formerly Hagop Kevorkian Associate Curator of Islamic Art, Brooklyn Museum, Froom also has consulted for museums including the Aga Khan Museum, Toronto; the British Museum, London; and the Réunion des Musées Nationaux, Paris. She has taught undergraduate and graduate courses at Brown University, Bard Graduate Center for the Decorative Arts, Trinity College, American University of Paris and the School of Oriental and African Studies  London. Froom earned her BA from Brown University; her MA from the University of Massachusetts, Amherst; and her PhD from the Institute of Fine Arts, New York University. Recent book publications include Bestowing Beauty: Masterpieces from Persian Lands – Selections from the Hossein Afshar Collection (Yale University Press, 2019), The Legacy of Persian Art (MFAH, 2017), and Arts of Islamic Lands: Selections from The al-Sabah Collection, Kuwait (MFAH, 2016).

Madhuvanti Ghose is the inaugural Alsdorf Associate Curator of Indian, Southeast Asian, Himalayan, and Islamic Art at the Art Institute of Chicago. She has curated tradition–based as well as modern and contemporary exhibitions including the site-specific Public Notice 3 by Jitish Kallat (2010–11); Gates of the Lord: The Tradition of Krishna Paintings (2015–2016); Vanishing Beauty: Asian Jewelry and Ritual Objects from the Barbara and David Kipper Collection (2016); and India Modern: The Paintings of M.F. Husain(2017–18).

Between 2012–16 Ghose led the Vivekananda Memorial Program for Museum Excellence with the Government of India that was designed to foster professional exchanges between the Art Institute and various museums in India. It resulted in the introduction of a uniform database platform across India’s national museums and the creation of the Museums of India web portal. She serves on the executive committee of the board of trustees of the American Association of Art Museum Curators and is Vice President of its Governance and Nominating Committee. 

Ghose has a Ph.D. from London University and was previously Lecturer in South Asian Art and Archaeology at the School of Oriental and African Studies (SOAS), London.

Anna O. Marley is Curator of Historical American Art and Director for the Center of the Study of the American Artist at the Pennsylvania Academy of the Fine Arts (PAFA) which she joined in 2009.  At PAFA, Marley has curated over 15 exhibitions, including Anatomy/Academy (2011); "A Mine of Beauty:" Landscapes by William Trost Richards and Henry Ossawa Tanner: Modern Spirit (both 2012); Spiritual Strivings: A Celebration of African American Works on Paper (2014); The Artists Garden (2015); and From the Schuylkill to the Hudson (2019). Her exhibitions and publications have been supported by the Foundation for Landscape Studies, the NEH, and the Luce, Terra, and Wyeth Foundations. Marley served as Chair of the Association of Historians of American Art and as US Liaison, AAMC Foundation Engagement Program for International Curators.  She was past Visiting Professor, Mellon Foundation Curatorial Track Ph.D. at the University of Delaware, and currently she serves on the Advisory Boards of the Art Center at Vassar College and the Smithsonian Archives of American Art Journal. Marley holds a B.A. in Art History from Vassar College, an M.A. in Museum Studies from the University of Southern California and a Ph.D. from the University of Delaware. 

Asma Naeem is the Eddie C. and C. Sylvia Brown Chief Curator at the Baltimore Museum of Art and a specialist in American art and contemporary Islamic art. Before joining the Baltimore Museum of Art, she was curator of Prints, Drawings, and Media Arts at the Smithsonian’s National Portrait Gallery. Her shows there included UnSeen: Our Past in a New Light, Ken Gonzales-Day and Titus Kaphar, co-curated with Taína Caragol, and Black Out: Silhouettes Then and Now.  The former won the Award for Excellence from the Association of American Museum Curators, and the latter, the Special Achievement award in the 2018 Smithsonian Excellence in Exhibitions awards program. Asma’s work has been published in Artforum, and American Art,  among others; Princeton University Press published her first book on silhouettes, and her second book, Out of Earshot: Sound, Technology, and Power in American Art, 1860-1900, is available January 2020 by the University of California, Berkeley Press.

Asma holds a Ph.D. in art history from the University of Maryland, and a B.A. from Johns Hopkins University.

Maurita N. Poole is Executive Director at Newcomb Art Museum at Tulane University. She holds a doctorate from Emory University in Anthropology. Her curatorial projects focus on African Diaspora art. Her most recent exhibition Emancipation: The Unfinished Project of Liberation, was co-curated with Margaret Adler of Amon Carter. It explores contemporary visualizations of freedom in relation to John Quincy Adams's 1863 sculpture The Freedman and commemorates the 160th anniversary of the Emancipation Proclamation. Before Newcomb Art Museum, Poole served as director and curator at Clark Atlanta University Art Museum (CAUAM). As director, she created and managed the Tina Dunkley Fellowship in American Art, a collaborative Diversity in Art Museum Leadership Initiative (DAMLI) involving CAUAM, the Pennsylvania Academy of the Fine Arts (PAFA), and the Zuckerman Museum of Art (ZMA). Additionally, she developed the “Black Optics Artist Residency,” an initiative that connected the praxis of African American and Caribbean artists.