CCL Fellowship Participants

Christophe Cherix is The Robert Lehman Foundation Chief Curator of Drawings and Prints at The Museum of Modern Art.  He joined the Department of Prints and Illustrated Books as Curator in July 2007 after serving as Curator of the Cabinet des estampes in Geneva.  Cherix’s specialty is modern and contemporary art, with a particular focus on printed art of the 1960s and 1970s. At MoMA, he most recently organized Jasper Johns: Regrets (with Ann Temkin), an exhibition which premiered the artist’s most recent body of work, a cohesive group of paintings, drawings and prints. In addition, he organized numerous shows at the Museum, including Print/Out (2012), an exhibition on contemporary prints, artist books, and ephemera from the early 1990s to the present, and Contemporary Art from the Collection (with Kathy Halbreich; 2010–2011), an installation of the permanent collection from the 1960s to the present. His upcoming projects comprise an exhibition of the work of Yoko Ono during the 1960s (with Klaus Biesenbach, May 2015), and a retrospective of the work of Marcel Broodthaers (Spring 2016). He has been instrumental in the Museum’s recent acquisitions of the Daled Collection, the Seth Siegelaub Collection and Archives, and the Art & Project/Depot VBVR collection, which together have transformed the Museum’s collection of Conceptual art. 

Deborah Cullen, PhD, is Executive Director of The Bronx Museum of the Arts, a contemporary art museum that connects diverse audiences to the urban experience through its permanent collection, special exhibitions, and education programs that strive to reflect the borough's dynamic communities. 

From 2012 to 2018, Cullen served as Director & Chief Curator of The Miriam & Ira D. Wallach Art Gallery at Columbia University in the City of New York, where she oversaw its expansion into the new Lenfest Center for the Arts in Harlem, and initiated the Uptown Triennial. The last project she oversaw, Posing Modernity: The Black Model from Manet and Matisse to Today, traveled to the Musée d’Orsay, Paris. 

Previously, Cullen was Director of Curatorial Programs at El Museo del Barrio, New York, where she worked from 1997 to 2012. Cullen’s projects there included participating in the curatorial team and co-editing the anthology for Caribbean: Crossroads of the World (2012); and curating Retro/Active: The Work of Rafael Ferrer (2010, and his 2012 monograph for UCLA’s Chicano Studies Research Center); Nexus New York: Latin/American Artists in the Modern Metropolis (2009); and Arte ≠ Vida: Actions by Artists of the Americas 1960-2000 (2008), for which she received a 2006 Emily Hall Tremaine Exhibition Award. 

Cullen has had a long affiliation with the late Jamaican-American master printmaker, Robert Blackburn (1920-2003), and his Printmaking Workshop; her dissertation for CUNY Graduate Center focused on his work. She is curating Robert Blackburn & Modern American Printmaking for the Smithsonian Institution Traveling Exhibition Service, debuting at the Nelson-Atkins Museum of Art in 2020. In 2014, Cullen curated Robert Blackburn: Passages for the David C. Driskell Center at University of Maryland, College Park. She also curated Interruption: The 30th Biennial of Graphic Arts (Ljubljana, Slovenia, 2013), and was chief curator of The Hive: The Third Poligraphic Trienal of San Juan (Puerto Rico, 2012). 

Malcolm Daniel is the Gus and Lyndall Wortham Curator of Photography at the Museum of Fine Arts, Houston. He was previously the Senior Curator and former Curator in Charge of Photographs at The Metropolitan Museum of Art and one of the world’s preeminent curators of 19th-century photography. A specialist in the early history of photography in France and Great Britain, Daniel has curated or co-curated some 25 exhibitions during his 23-year tenure at the Metropolitan, including The Photographs of Édouard Baldus (1994); Edgar Degas, Photographer (1998); The Dawn of Photography: French Daguerreotypes, 1839–1855 (2003); All the Mighty World: The Photographs of Roger Fenton, 1852–1860 (2004); Napoleon III and Paris (2009); Stieglitz, Steichen, Strand (2010); Photographic Treasures from the Collection of Alfred Stieglitz (2011); Naked before the Camera (2012); and Julia Margaret Cameron (2013). He is the author of numerous books and articles; has served as Adjunct Professor at Columbia University and New York University’s Institute of Fine Arts; and was a 2010 Fellow at the prestigious Center for Curatorial Leadership.

During Daniel’s nine-year leadership of the Department, the Metropolitan acquired some 20,000 photographs spanning the full history of the medium. He spearheaded the acquisition of individual masterpieces, ranging from William Henry Fox Talbot and Baron Gros to Edgar Degas and László Moholy-Nagy, as well as the renowned Gilman Paper Company Collection of 8,500 photographs from the first century of the medium, 1839 to 1939.

Daniel received his B.A. from Trinity College, Hartford, in art history and studio art in 1978; his M.A. in Modern art from Princeton University in 1987; and his Ph.D. from Princeton in 1991.

Alison de Lima Greene is curator of Contemporary Art & Special Projects at the Museum of Fine Arts, Houston. Before coming to Texas, Ms. Greene worked in the department of European Paintings at the Metropolitan Museum of Art and lectured at The Cooper Union. She graduated cum laude from Vassar College in 1974 and received her Master’s degree from New York University’s Institute of Fine Arts in 1981.  Among her recent exhibitions are Revelation: Major Paintings by Jules Olitski and James Turrell: The Light Inside. A 2010 Fellow at the Center for Curatorial Leadership, Ms. Greene also serves as a trustee of the Association of Art Museum Curators and on the board of Gulf Coast: A Journal of Literature and Art.

Kathleen Forde is a curator based in NYC and Istanbul. Forde is the Artistic Director at Large for Borusan Contemporary, a collection-based space for media arts exhibitions, commissions and public programming in Istanbul. During her tenure at BC Forde has curated and toured numerous solo exhibitions by artists such as Rafael Lozano-Hemmer, Daniel Canogar, Brigitte Kowanz and John Gerrard, and collaborated with curators and institutions that include the San Francisco Museum of Modern Art, Espacio Telefonica Madrid, La Boral Gijon and the Kunsthalle Darmstadt.

Concurrently she is working as an independent curator with various institutions both nationally and abroad.

From 2005 to 2012 Forde was the Curator of Time-Based Visual Arts at the Experimental Media and Performing Arts Center (EMPAC) in Troy, NY. At EMPAC she commissioned and/or produced a broad range of new work by artists that included The Wooster Group, Laurie Anderson, Japanther, Jem Cohen and Ben Rubin, and curated exhibitions such as Dancing on the Ceiling: Art and Zero Gravity.

Prior to EMPAC, Forde was the Curatorial Director for Live Arts and New Media at the Goethe Institut Internaciones in Berlin and Munich. As Curatorial Associate and then Assistant Curator for Media Arts at SFMOMA (1999–2002), she co-curated the interdisciplinary show 010101: Art in Technological Times in addition to ongoing work with both temporary and permanent collection exhibitions.

She has also written and/or curated on a freelance basis for various organizations that have included the Eyebeam Center for Art and Technology; The University of Michigan Museum of Art (UMMA); Independent Curators International; The Transmediale Festival, Berlin; Kunstverein Dusseldorf and Cologne; VideoZone, Tel Aviv; the Rotterdam Film Festival; and the Philadelphia Museum of Art. She sits on the board of Issue Project Room, NY, and on the Advisory Committees for the SETI Institute Artist in Residence Program and the Moving Image Art Fair, Istanbul.

In 2002-3 Forde held an Alexander von Humboldt research scholarship in Berlin She earned an MA in Post-1945 Art and Theory from Goldsmiths College, University of London, and a BA in Communications and Art History from the Loyola College of Maryland.

Frederick Ilchman holds a BA in art history from Princeton and received his PhD from Columbia University, with a dissertation on Jacopo Tintoretto's early career. Supported by a Fulbright Fellowship and grants from the Metropolitan Museum and Save Venice Inc., he spent five years in Venice studying Venetian Renaissance painting.

Frederick came to the Museum of Fine Arts, Boston in 2001 as assistant curator of paintings, with responsibility for Italian medieval and Renaissance paintings.  Soon after arrriving at the MFA, he was the Boston curator for Thomas Gainsborough, 1727-1788 (2003).  He helped plan the major exhibition on Jacopo Tintoretto at the Museo del Prado in the spring of 2007 and was a contributor to its catalogue. An essay on "Tintoretto as a Painter of Religious Narrative" from the Prado's catalogue won an award from the Association of Art Museum Curators.

Later he served as the lead curator forTitian, Tintoretto, Veronese: Rivals in Renaissance Venice(2009), an exhibition organized jointly with the Musée du Louvre.  Recently, he co-curated Goya: Order and Disorder, the largest Goya exhibition in North America in a quarter century, for the MFA.

Frederick is a member of the board and the project director of Save Venice Inc., the largest private committee dedicated to preserving the cultural patrimony of Venice. He is now also the Chairman of the Boston Chapter of Save Venice. He was promoted to the Mrs. Russell W. Baker Curator of Paintings at the MFA in 2009, and became Chair, Art of Europe, in February 2014.

Chiyo Ishikawa works with Director Kimerly Rorschach to plan SAM’s artistic program, overseeing the Curatorial, Conservation, and Museum Services Division. Dr. Ishikawa joined SAM in 1990 after serving as an NEA curatorial intern in the Department of European Painting at the Museum of Fine Arts, Boston and in the Department of Paintings Conservation at the Metropolitan Museum of Art in New York, where she was also a Theodore Rousseau Fellow. She has a Ph.D. in art history from Bryn Mawr College (1989).  Her 2004 book on a work of art from the Spanish royal collection, The Retablo of Isabel la Católica by Juan de Flandes and Michel Sittow (Brepols), won the Eleanor Tufts Book Award from the American Society for Hispanic Art Historical Studies.

Among exhibitions Ishikawa has curated are Spain in the Age of Exploration 1492-1819; Renaissance Art in Focus: Neri di Bicci and Devotional Painting in Italy; and Leonardo Lives: The Codex Leicester and Leonardo da Vinci’s Legacy of Art and Science. She was local curator for Picasso: Masterpieces from the Musée National Picasso, Paris; Gauguin & Polynesia: An Elusive Paradise; Rembrandt, Van Dyck & Gainsborough: The Treasures of Kenwood House, London; and The Gates of Paradise: Lorenzo Ghiberti’s Renaissance Masterpiece, among many other shows.

Ishikawa’s 2004 book on a work of art from the Spanish royal collection, The Retablo of Isabel la Católica by Juan de Flandes and Michel Sittow (Brepols), won the Eleanor Tufts Book Award from the American Society for Hispanic Art Historical Studies. She was awarded the Spanish Order of Isabel la Católica in 2004 for her work on Spain in the Age of Exploration 1492-1819. She participated in the Center for Curatorial Leadership program in 2010.

Alisa LaGamma’swork has been instrumental in rethinking the history of sub-Saharan African art and culture.  In 2012 the Bard Graduate Center recognized her work with the Iris Award for Outstanding Scholarship. LaGamma’s Heroic Africans: Legendary Leaders, Iconic Sculptures publication received the 2012 International Tribal Art Book Prize.  In 2007 the Association of Art Museum Curators recognized the publication for her exhibition Eternal Ancestors: Art of the Central African Reliquary as among the profession’s outstanding exhibition catalogues. Her 2008 exhibition The Essential Art of African Textiles: Design Without End addressed historical continuities between classical forms of expression from sub-Saharan Africa and the work of leading contemporary artists from the region.

A 1988 graduate of the University of Virginia, LaGamma received her MA and PhD in art history from Columbia University. Her 1995 dissertation: “The Art of the Punu Mukudj Masquerade: Portrait of an Equatorial Society” was based on a year of fieldwork in southern Gabon. Born in the Congo, LaGamma has traveled widely in sub-Saharan Africa and lived in Côte d’Ivoire, Senegal, Nigeria, Togo, and South Africa. She has taught as a visiting professor in the art history departments at Columbia University, Rutgers, the University of Pennsylvania, and New York University’s Institute of Fine of Fine Arts and is a member of the editorial board of the journal African Arts.  From 2009-10 she served as Chair of the Metropolitan’s Forum of Curators, Conservators, and Scientists.

Lisa Rotondo-McCord is currently the Deputy Director for Curatorial Affairs/Curator of Asian Art and has served as NOMA’s Curator of Asian Art since 1994. Educated at Wesleyan University and Yale University, her graduate studies focused on twentieth-century Chinese painting. While at NOMA, she implemented thematic installations of the permanent collection of Asian art, and organized a number of traveling exhibitions including Heaven and Earth Seen Within (2000), An Enduring Vision (2002), and 5,000 Years of Chinese Art (2004). Similar forthcoming projects include The Sound of One Hand: Painting and Calligraphy by Zen Master Hakuin (2010) and The Elegant Image: Hindu, Buddhist and Jain Bronzes (2011), and the non-Asian exhibitions Living Color: Photographs by Judy Cooper (2008-10) and Beyond the Blues: Reflections on African America from the Amistad Research Center Collection (2010-12). Rotondo-McCord created the Hyogo-NOMA Art Therapy Initiative (2006-present), implemented cell phone tours at NOMA (2008-present), and continues to write and administer major grant initiatives.

Kristina Van Dyke was most recently director of Pulitzer Arts Foundation. Prior to joining the Pulitzer, she was curator for collections and research at the Menil Collection in Houston.  She has organized exhibitions on historical and contemporary African art and commissioned projects on Pacific art and Byzantine art. Van Dyke received her M.A. in Art History from Williams in 1999 and her PhD from Harvard University in 2005 where she wrote her dissertation on the concept of objects in oral cultures in Mali.

Stephan Wolohojian is Curator of European Paintings at The Metropolitan Museum. He was previously Landon and Lavinia Clay Curator, and Head of the Department of Paintings, Sculpture and Decorative Arts, at Harvard Art Museum/ Fogg Museum. He received his Ph. D. in Fine Arts from Harvard University and then assumed a teaching position at the University of Delaware, where he taught courses on Renaissance art as well as on theory. He has been the recipient of numerous awards and prizes, including a Rome Prize Fellowship at the American Academy in Rome, and was recently a visiting Fellow at I Tatti, the Harvard University Center for Renaissance Studies. He has a published and lectured on a wide range of topics and curated numerous exhibitions at the Fogg. He was organizing curator of “A Private Passion: 19th- Century Paintings and Drawings from the Grenville L. Winthrop Collection,” the catalogue for which was awarded the AAMC Book prize, among other awards, and was co-curator of “Degas at Harvard,” which was the most visited exhibition in the history of the Fogg Museum.