Elizabeth Armstrong is the JoAnn McGrath Executive Director of Palm Springs Art Museum. Previously, she served as the Founding Curator of Contemporary Art at the Minneapolis Institute of Arts (MIA). During her tenure at the MIA, Armstrong founded the museum’s Center for Alternative Museum Practice (CAMP), a lab for innovative and experimental programming at the museum, which has spawned a diverse range of successful programs. She also established the first program of contemporary art at the encyclopedic museum and raised $4 million for new acquisitions.
Armstrong has curated numerous exhibitions, including Global Remix I: What is Sacred?; More Real: Art in the Age of Truthiness; and Until Now: Collecting the New (1960-2010) at the MIA; Mary Heilmann Retrospective; Birth of the Cool: California Art, Design, and Culture at the Midcentury; and American Moderns: Villa America, 1900– 1950, at the Orange County Museum of Art; and Ultrabaroque: Aspects of Post Latin American Artat the Museum of Contemporary Art, San Diego.
She has also edited and authored essays for dozens of publications on contemporary art, including her award winning Birth of the Cool book, Girls’ Night Out; and David Reed: Motion Pictures, and is a frequent lecturer.
Armstrong earned a Master of Arts degree in the History of Art from the University of California, Berkeley. She also holds a Bachelor of Arts degree in American Studies from Hampshire College in Amherst, Massachusetts. In 2008, she was one of ten curators selected nationwide to participate in the inaugural year of the Center for Curatorial Leadership in partnership with Columbia Business School in New York City.
Colin B. Bailey is Director of The Morgan Library & Museum. Previously, he served as the Director of the Fine Arts Museums of San Francisco, overseeing the de Young Museum in Golden Gate Park and the Legion of Honor in Lincoln Park.
Prior to his arrival in California, Bailey served as Deputy Director and Peter Jay Sharp Chief Curator at The Frick Collection in New York. He had been Deputy Director and Chief Curator at the National Gallery of Canada, Senior Curator at the Kimbell Art Museum in Ft. Worth, and held curatorial posts at the Philadelphia Museum of Art and the J. Paul Getty Museum earlier in his career.
Bailey earned a DPhil in Art History from the University of Oxford. A specialist in 18th- and 19th-century French art and responsible for many celebrated exhibitions and publications, he has been an Officier de L’Ordre des Arts et des Lettres since 2010.
SILVIA KARMAN CUBIÑÁ is the Executive Director and Chief Curator, Bass Museum of Art, Miami Beach in 2008. Previously, she was the Director of The Moore Space, Miami, from 2002-2008. In the past, she held the position of Adjunct Curator at inova, the Institute of Visual Arts; University of Wisconsin, Milwaukee; and at The Mexican Museum in San Francisco and the Cuban Museum of Art in Miami. She was the Puerto Rico commissioner to the 1997 Bienal de Sao Paolo. She has curated numerous exhibitions, lectured extensively and participated in grant panels and award selection committees, including serving as a juror for the Guggenheim Museum’s Hugo Boss Award for 2006 and juror at the Bienal de Lyon in 2008. In 2007, she was a finalist for the Walter Hopps Award for Curatorial Achievement and was a fellow in the Center for Curatorial Leadership (CCL) fellowship program. Ms. Cubiñá currently serves on the Knight Foundation National Arts Advisory Board and on the Board of Directors of the AAMD American Alliance of Art Museum Directors. In 2012, Ms. Cubiñá was awarded the distinction of Chevalier de l'ordre des arts et lettres by the French Ministry of Culture.
Eleanor Jones Harvey is senior curator at the Smithsonian American Art Museum. She earned a B.A. with distinction in art history from the University of Virginia, and earned an M.A. and Ph.D. in the history of art from Yale University. Her most recent project was the exhibition The Civil War and American Art, which was on view at the Smithsonian American Art Museum in 2012-2013 and at the Metropolitan Museum of Art in New York in the summer of 2013. She served as SAAM’s Chief Curator from 2003-2012. Prior to coming to the Smithsonian she served as the curator of American art at the Dallas Museum of Art from 1992-2002, and began her career as Assistant Curator of American Paintings at the Museum of Fine Arts, Boston from 1989-1991.
Paola Morsiani was most recently director of Neuberger Museum of Art of Purchase College.
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. In 2008, she participated in the Center for Curatorial Leadership fellowship and studied at Columbia University’s Executive Education Program. Early in her career, she worked in curatorial departments at the Drawing Center, New York; Queens Museum, New York; and at the Carnegie Museum of Art, Pittsburgh, Pennsylvania. As Senior Curator at the Contemporary Arts Museum Houston, she curated a number of acclaimed exhibitions, including Andrea Zittel: Critical Space (2005, co-organized with Trevor Smith and 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). At the Contemporary Arts Museum Houston, she also curated several project-room sized exhibitions, with artists Adrian Paci (2005), Abraham Cruzvillegas (2003), Amy Adler, Liza May Post, Francesca Woodman (2001), and Dario Robleto. A catalogue accompanied each exhibition, with essays by Ms. Morsiani and other writers.
In 2008, she became Curator of Contemporary Art at the Cleveland Museum of Art, where she reinstalled the contemporary art collection galleries in the new East Wing, which opened to the public in June 2009. She also made a number of significant collection acquisitions, including The Casting (2007) by Omer Fast, One and Three Photographs [Ety.] (1965) by Joseph Kosuth, Continuous Mile (2006–2008) by Liza Lou, Jackie Curtis and Ritta Redd (1970) by Alice Neel, and Rho I (1977) by Jack Whitten, among others. In addition, Morsiani curated the first US solo museum exhibition of the work of Korean artist Kim Beom, which opened in November 2010. She was involved in fundraising, grant writing, and educational outreach and marketing for local, national, and international art audiences; and conceptualized and implemented a pilot program of Contemporary Artists Lecture Series (2011: Ann Hamilton; Raqs Media Collective); and directed and expanded the Contemporary Art Society, a 120 members affiliate group, among many other duties.
The Director of the Patricia & Phillip Frost Art Museum at Florida International University, Jordana Pomeroy received her B.A. from Bryn Mawr College and her Ph.D. from Columbia University. She was previously the Executive Director of the LSU Museum of Art, and affiliate faculty of the Department of Art History at LSU. As the Chief Curator at the National Museum of Women in the Arts in Washington, D.C., Pomeroy organized many notable exhibitions. Among these include:An Imperial Collection: Women Artists from the State Hermitage Museum(2003),Italian Women Artists from Renaissance to Baroque(2007), andNordic Cool: Hot Women Designers(2004). Her bookIntrepid Women: Victorian Artists Travel(Ashgate, 2005) was critically well received. Pomeroy has published widely on the subject of British patronage of the arts in the early 19th century and served as a Professorial Lecturer at Georgetown University in the area of museum studies. A member of the inaugural class of the Center for Curatorial Leadership, Pomeroy served as a trustee for the Association of Art Museum Curators. She is currently Louisiana’s state representative for the Association of Academic Museums and Galleries.
Richard Rand is the Associate Director for Collections at the J. Paul Getty Museum. Previously, he served as the Robert and Martha Berman Lipp Senior Curator of Paintings and Sculpture at the Sterling and Francine Clark Art Institute. 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 is Director of the Museum of Fine Arts, Houston. Previously, he served as the Engelhard Chairman of the Department of Nineteenth-Century, Modern and Contemporary Art at The Metropolitan Museum of Art. During his tenure at The Metropolitan Museum, he has organized dozens of acclaimed exhibitions, accompanied by significant publications, many of which were mounted in collaboration with, and traveled to, major museums around the world. A number of these shows were among the best-attended exhibitions ever presented at the Metropolitan, including Degas (1988); Splendid Legacy: The Havemeyer Collection (1993); Origins of Impressionism (1994); Portraits by Ingres: Image of an Epoch (1999); Manet/Velazquez, The French Taste for Spanish Painting (2004); Kara Walker at the Met: After the Deluge (2006), one of a series of exhibitions inviting artists to show their own work alongside objects they select from the collection; Francis Bacon: A Retrospective (2009); and Picasso in the Metropolitan Museum of Art (2010), an exhibition drawn solely from the Metropolitan's holdings that drew 700,000 visitors.
Since 2005, Tinterow has directed the Metropolitan's acclaimed "On the Roof" programming, commissioning seven site-specific projects from such artists as Cai Guo-Qiang, Frank Stella, Roxy Paine, Jeff Koons and Mike + Doug Starn. The projects have attracted up to 800,000 visitors during these six-month installations and have made the Roof Garden of the Metropolitan one of New York's top destinations. In addition, Tinterow played a key role in the conception and subsequent planning stages of the collaboration between the Metropolitan and the Whitney Museum of American Art to provide for the Metropolitan's expansion into the Whitney's landmark Marcel Breuerbuilding on Madison Avenue. Announced earlier this year, the project is slated to launch in 2015 with the Whitney's move to its new building on Gansevoort Street.
During his distinguished tenure, Tinterow has acquired dozens of significant works of art for the collection of theMetropolitan: from paintings by Ingres, Gericault and Delacroix to Manet, Degas and Seurat, and from Stanley Spencer and Robert Rauschenberg to George Condo; sculptures from Barbara Hepworth and Jean Tinguely to Anish Kapoor; prints from Pablo Picasso to Ellsworth Kelly and Julie Mehretu; and drawings by Diego Rivera and Matisse to Richard Serra; along with a monumental tapestry by El Anatsui.
In 1993, Tinterow spearheaded the museum's acquisition of two celebrated works by Van Gogh – including the artist's Wheatfield with Cypresses (1889), the most expensive purchase ever made by the Metropolitan. Tinterow was also instrumental to discussions that led to the gift from Ambassador and Mrs. Walter Annenberg of their collection of 53 works by Cezanne, Gauguin, Manet, Monet, Picasso and others. Since then, he has shepherded the gift and bequest of other renowned collections, including the gift of the Eugene V. Thaw collection of European oil sketches.
While at the Met, Tinterow also directed two significant gallery renovations that were widely praised: the renovation and reinstallation of the 30,000-square-foot Nineteenth-Century European Painting and Sculpture Galleries, which opened in 1993, and the 10,000-square-foot expansion to create the ten new adjacent galleries, completed in 2007, allowing the museum to display newly acquired European oil sketches, and paintings by Scandinavian and German artists, alongside its legendary collection of French Impressionist and Post-Impressionist paintings.
Tinterow has also conducted a range of national and international collaborative projects, and is currently organizing shows with the Musee d'Orsay and the Centre Georges Pompidou in Paris, the Art Institute of Chicago, the San Francisco Museum of Modern Art and the National Gallery of Art, Washington, D.C.
In addition to his extensive curatorial record, over three decades Tinterow has contributed extensively to scholarship in the fields of nineteenth- and twentieth-century art as the author and co-author of, and contributor to, more than 60 major exhibition catalogues and other publications. He has lectured at museums throughout the world and taught at Harvard University, the Institute for Fine Arts at New York University and Hunter College. His 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. Tinterow was the founding president of the Association of Art Museum Curators and continues to serve as a trustee of the 1,100-member organization. He is a trustee of the Thomas Moran Trust and the chairman of the Marbletown, New York, Historic Preservation Commission.
A native of Houston, Tinterow is a 1976 magna cum laude graduate of Brandeis University. He received his graduate degree from Harvard University's Department of Fine Arts, where he studied from 1976 to 1983, and a diploma from the Center for Curatorial Leadership of the Columbia University Business School in 2008. He spent the early years of his career as a curatorial assistant at the Israel Museum in Jerusalem, the Rose Art Museum at Brandeis, the Museum of Fine Arts, Houston – working in 1975 with then-director William C. Agee and in 1976 with then-curator of modern art Linda Henderson – the Fogg Art Museum at Harvard and the Tate Gallery, London. He joined the staff of the Metropolitan Museum in 1983.
In 2013 Zoe Whitley joined the curatorial team at Tate Britain, where she is currently working on contemporary projects including acquisitions and artists' film and video art. Prior to joining Tate, Zoe was a curator at the Victoria and Albert Museum, first as an Assistant Curator of Prints and Posters (2003-2005) and subsequently as Curator of Contemporary Programmes (2005-2013). Site-specific artists commissions and temporary exhibitions to her credit include projects with El Anatsui, Mat Collishaw, Lubaina Himid, Anselm Kiefer and Yinka Shonibare, among others. She co-curated The Shadows Took Shape (2013-14) at the Studio Museum in Harlem.
Zoe is also a PhD candidate at the University of Central Lancashire. Her doctoral research focuses on institutional critique, racialized space and contemporary art of the African Diaspora. Zoe earned an MA in the History of Design from the Royal College of Art in 2003.
Laurie Winters is the Executive Director/CEO of the Museum of Wisconsin Art. Previously, she served served fifteen years at the Milwaukee Art Museum, most recently as Director of Exhibitions and Publications.
During her tenure at the Milwaukee Art Museum, Winters successfully developed a nationally and internationally acclaimed exhibition program that helped more than double the museum’s attendance. Her own curatorial record includes Leonardo da Vinci and the Splendor of Poland (2002), named one of the top five exhibitions of the year by Apollo magazine, and the Summer of China (2011), which brought Chinese art to Milwaukee for the first time. These two exhibitions broke all previous records, claiming the top two spots for highest attendance in the museum’s history. Beginning in 2003, Winters established a collaboration with the Albertina in Vienna, which led to the 2005 exhibition Rembrandt and His Time: Masterworks from the Albertina, the 2006 exhibition Beidermeier: The Invention of Simplicity, and the 2011 exhibition Impressionism: Masterworks on Paper.
Beidermeier received rave reviews in Art in America, The New Republic, and The New York Times, which named the exhibition catalogue decorative arts book of the year. From Milwaukee, the exhibition traveled to the Albertina, the German Historical Museum in Berlin, and the Louvre in Paris, and is today recognized as a model of international collaboration.
Most recently, Winters founded The Art Consortium, an international think tank of museum and art world leaders devoted to solving problems facing art museums. As President of the Consortium, Winters convened the first annual meeting of the organization in Vienna from October 22 to 24, 2012. At the Vienna meeting, museum directors and other leaders from the U.S. and Europe engaged with thinkers such as technologist Jaron Lanier, psychologist Susan Weinschenk, economists Georg Franck-Oberaspach and Arjo Klamer, and art critic Jason Kaufman.
Winters holds an MBA from Alverno College (2012), an MA in art history from the University of Michigan (1988), and a BA with honors in art history and French from the University of Toledo (1981). She lived in Paris in 1989 and 1990 as a Fulbright Fellow and was selected for the inaugural class of the Center for Curatorial Leadership (CCL) in 2008 and for the Getty Leadership Institute’s museum leadership program in 2009. She was awarded the Cavalier’s Cross of the Order of Merit by the Polish Republic in 2003 for her work on the exhibition Leonardo da Vinci and the Splendor of Poland.