Tracey Bashkoff is currently Senior Curator, Collections and Exhibitions at the Solomon R. Guggenheim Museum. Since joining the museum in 1993, she has contributed to over fifteen special exhibitions covering a range of twentieth-century subjects. She co-curated the international retrospective Kandinsky (Lenbachhaus, Munich; Centre Pompidou, Paris; Guggenheim, New York, 2008-09). Bashkoff has curated collection-based exhibitions for the museum since 1997 including permanent displays as well as temporary presentations, such as The Great Upheaval: Modern Art from the Guggenheim Collection, 1910-18 (Guggenheim, New York, 2010). For the Deutsche Guggenheim, Berlin she organized the commissions and presentations of works by John Baldessari (2004) and Hiroshi Sugimoto (2000) as well as the exhibition, On the Sublime: Mark Rothko, Yves Klein, and James Turrell(2002). In addition to preparing exhibitions for the Guggenheim’s network of museums, she oversees the institution’s collections care group and management policies. Bashkoff completed her graduate studies at Northwestern University where she received a Mellon Fellowship in Art Objects.
Graham C. Boettcher is Deputy Director and The William Cary Hulsey Curator of American Art at the Birmingham Museum of Art in Alabama, where he has worked since 2006, and was Luce Foundation Curatorial Fellow of American Art until 2008. He was previously a curatorial fellow at the Yale University Art Gallery, and has held research fellowships at the Amon Carter Museum of American Art, and the Terra Foundation Summer Residency in Giverny, France. Boettcher recently curated The Look of Love: Eye Miniatures from the Skier Collection (2012), for which he edited and contributed to a major publication by the same name. He is currently working on an exhibition exploring the Viking Revival in American art. Boettcher received his B.A. and Ph.D. from Yale University, and an M.A. from the University of Washington in his home state. He has served as a trustee of the Association of Art Museum Curators since 2010.
Sarah Cash is Associate Curator, Department of American and British Paintings, National Gallery of Art, and former Bechhoefer Curator of American Art at the Corcoran Gallery of Art. She recently completed the award-winning Corcoran Gallery of Art: American Paintings to 1945 and curated the traveling exhibition Sargent and the Sea. She has also organized Encouraging American Genius: Master Paintings from the Corcoran Gallery of Art; Norman Rockwell’s Four Freedoms: Paintings that Inspired a Nation; Albert Bierstadt’s California Scenery, Sunset View; and The Gilded Cage: Views of American Women, 1873–1921. She has lectured widely, authored and edited numerous publications, and has been developing an exhibition focused on Albert Bierstadt’s The Last of the Buffalo (1888).
Prior to arriving at the Corcoran Cash directed the Maier Museum of Art at Randolph-Macon Woman’s College, and, previously, was assistant curator at the Amon Carter Museum. She has worked at the National Gallery of Art, Yale University Art Gallery, and the National Portrait Gallery. Cash received an M.A. from the Williams College Graduate Program in the History of Art and a B.A. in Art History from Smith College; she attended the Museum Management Institute in 1996 and CCL in 2014. She serves on the boards of Reynolda House Museum of American Art and the Arlington Arts Center.
C. D. Dickerson is Curator and Head of Sculpture Department at the National Gallery of Art. Previously, he served as curator of European art at the Kimbell Art Museum in Fort Worth, Texas. Since joining the Kimbell in 2007, he has co-curated several acclaimed exhibitions, includingFrom the Private Collections of Texas: European Art, Ancient to Modern(2009–10) andBernini: Sculpting in Clay(2012–13), which opened at the Metropolitan Museum of Art. Among his other projects for the Kimbell is his recent bookRaw Painting: “The Butcher’s Shop”by Annibale Carracci. Dr. Dickerson received his PhD in 2006 from the Institute of Fine Arts, New York University, with a dissertation on sculpture in Rome during the formative years of Gian Lorenzo Bernini. As an undergraduate, he majored in art history at Princeton University. Prior to 2007, he was assistant curator of Renaissance and Baroque art at the Walters Art Museum in Baltimore. He has held fellowships at the Metropolitan Museum of Art and the National Gallery of Art.
Catherine Futter is the Director of Curatorial Affairs at the Nelson-Atkins Museum of Art. She was previously the Louis L. and Adelaide C. Ward Senior Curator of European Arts. She has completed several reinstallation projects, a major international loan traveling exhibition and numerous contemporary art and design exhibitions. A specialist in 19th through 21st century European and American decorative arts and design, Catherine has focused on the interaction between different cultures and their influence on the decorative arts.
Catherine has served on the Museum's Strategic Leadership Group since 2009 and currently is the manager of the museum’s initiative for a cultural arts district, involving civic, institutional and neighborhood partnerships for improved connectivity through infrastructure. She is co-chair of the Career Support Committee of the Association of Art Museum Curators, a mentor for the 2012-2013 year of the AAMC Mentoring Program and serves as a mentor for MINDDRIVE, a program for at-risk high school students.
Melanie Holcomb is a curator in the Department of Medieval Art and The Cloisters at The Metropolitan Museum of Art. Since joining the Met in 1999, she has contributed to multiple exhibitions as well as to the reinstallation of the Medieval and Byzantine Galleries. She was curator of the groundbreaking exhibition Pen and Parchment: Drawing in the Middle Ages in 2009 and co-curator of the 2011-13 exhibition series, Medieval Jewish Art in Context. Her present research is focused on the art and history of the Holy Land as she and a colleague prepare an exhibition devoted to Jerusalem in the Middle Ages, scheduled for 2016 at the Metropolitan. An alumna of Smith College (B.A.) and the University of Michigan (M.A., Ph.D.), she has taught at the Graduate Center, CUNY, the Institute of Fine Arts, and the University of Sussex. She was also a visiting Museum Scholar at the Getty Research Institute.
Since the conclusion of the CCL program in May 2014, Aimee Marcereau DeGalan has assumed a greater leadership role at the Dayton Art Institute with complete oversight of the curatorial division. She is in the process of adding several new positions to the curatorial team and working with education staff to develop an interpretive plan for the permanent collections. Within her own department, she is actively developing a collections management strategy. A member of the leadership committee of the museum, and regular board meeting attendee, she is engaged in strategic discussions at both the board and executive committee level. Balancing administration with curatorial responsibilities, Aimee maintains an ambitious exhibition cycle and recently curated the second highest attended exhibition at the museum in the last five years. Her on-going and forthcoming research projects include work on Sebastiano Ricci, Joshua Reynolds, Mary Linwood and Grandma Moses, and Op Art in Ohio; for many of which she is writing grants to help realize.
Sylvie Patry is the Deputy Director for Collections and Exhibitions and Gund Family Chief Curator at the Barnes Foundation. She was previously Chief Curator of Impressionist and Post-Impressionist Paintings at the Musée d'Orsay, Paris. She is currently organizing a 2014-15 exhibition on Durand-Ruel (collaborating with the National Gallery, London and the Philadelphia Museum of Art) as well as Renoir in Turin (2013). Patry is also supervising the catalogue of the Orsay paintings collection.
She co-curated international exhibitions on Maurice Denis (2006), Hodler (2007), Renoir (2009), Orsay's Masterpieces and Monet (2010) and published essays in the accompanying catalogues and contributed to the "Catalogue des Dessins du Musée Gustave Moreau". Besides her extensive scholarly texts, Patry has widely lectured on 19th century French painting and taught at Ecole du Louvre.
Before joining the Musée d'Orsay in 2005, Patry was a curator at the Lille Museum and co-curated a Morisot retrospective (2002) and participated in an exhibition on Carolus-Duran. Following her tenure at the Musée Gustave Moreau (2002), she spent two years at the Institut National d'Histoire de l'Art and co-authored a book on Brauner in collaboration with the Centre Pompidou (2005) and a catalogue of Fantin-Latour's drawings in Grenoble (2004).
Patry studied art history, philosophy and literature at the Sorbonne before matriculating at the Institut National du Patrimoine, Paris.
Eva Respini has been Barbara Lee Chief Curator of The Institute of Contemporary Art/Boston since March 2015. Previously, Respini was Curator in the Department of Photography at The Museum of Modern Art, where she has organized more than 15 exhibitions. A specialist in contemporary photography and video with a broad interest in post-1960s art and visual culture, her exhibitions accompanied by publications include Cindy Sherman (2012), Into the Sunset: Photography's Image of the American West (2008), and Fashioning Fiction: Fashion Photography since 1990 (2004). In addition, she has organized innovative thematic displays from the collection, such as Pictures by Women: A History of Modern Photography (2010); Staging Action: Performance in Photography since 1960 (2011); and Artist's Choice: Vik Muniz, Rebus(2008). Other MoMA projects include shows devoted to Walead Beshty, Klara Liden, Akram Zaatari, Stephen Shore, Yto Barrada, Phil Collins, Matthew Barney, Allan Sekula, and Robin Rhode. Respini is currently at work on Robert Heinecken: Object Matter(2014), a new biennial of photography for MoMA in 2015, and the first American museum survey of the work of Walid Raad (2015). She holds a B.A. in Art History and M.A. in Modern Art and Critical Theory, both from Columbia University.
Brady Roberts has been Chief Curator at the Milwaukee Art Museum since 2009, leading a Curatorial Department of thirty employees. During that time, he has appointed three curators and an exhibition designer, key members of his team developing the master plan to re-install collections museum-wide in 2015. This is a central element of the museum's current $25 million capital campaign.
Over the course of his twenty-year career, Mr. Roberts has been involved with three other museum building projects, including the AIA award-winning Dubuque Museum of Art and the new wing for contemporary art at the Phoenix Art Museum designed by Tod Williams and Billie Tsien.
Mr. Roberts has organized dozens of exhibitions, including the ground-breaking Grant Wood: An American Master Revealed and Constructing New Berlin. In Milwaukee, he has organized solo exhibitions with Tara Donovan, Isaac Julien, and Dirk Skreber. He is currently co-organizing a major Kandinsky retrospective with the Centre Pompidou opening in 2014. Mr. Roberts has a B.A. from the University of Illinois, Champaign-Urbana, and a M.A. from the University of Wisconsin, Madison, both degrees in Art History.
Zoë Ryan is the John H. Bryan Chair and Curator of Architecture and Design at the Art Institute of Chicago where she is building the museum's first collection of contemporary design and expanding its architecture collection. Her recent exhibitions include "Building: Inside Studio Gang Architects" (2012); "Fashioning the Object: Bless, Boudicca, and Sandra Backlund" (2012); "Bertrand Goldberg: Architecture of Invention" (2011); and "Hyperlinks: Architecture and Design" (2010), the most visited architecture and design exhibition in the museum's history. Prior to working at the museum, Ryan was Senior Curator at the Van Alen Institute in New York. Ryan received her BA from the University of Sussex, England and her MA from Hunter College, City University of New York. She has lectured internationally and authored and edited publications including Building with Water: Designs, Concepts, Visions (Birkhäuser, 2010). In 2012 she was a member of the curatorial advisory team for the US Pavilion at the Venice Architecture Biennale. In fall 2012, Fast Company magazine named Ryan one of the 50 people shaping the future of design. Ryan is an Adjunct Associate Professor in the School of Design at the University of Illinois at Chicago and is a lecturer in the Art History Department of the School of the Art Institute. Ryan is currently curating the 2014 Istanbul Design Biennial.
Photo courtesy of the Art Institute of Chicago.
Jon L. Seydl is the Director of Curatorial Affairs and Curator of European Art at the Worcester Art Museum, leading a division of 25 people. From 2007 to 2013 he served as the Vignos Curator of European Painting and Sculpture, 1500-1800, at the Cleveland Museum of Art. He studied at the University of Pennsylvania, where he wrote his 2003 dissertation on the Sacred Heart in the eighteenth century, while working at the Philadelphia Museum of Art on the exhibition The Splendor of Eighteenth-Century Rome. As a curator at the Getty from 2002 to 2007, his projects included Tiepolo Oil Sketches and From Friedrich to Richter: German Paintings from Dresden, and he co-edited the volume, Antiquity Recovered: The Legacy of Pompeii and Herculaneum. At Cleveland, he reinstalled the collections in 2008, with a second phase in 2012. His exhibitions include Rembrandt in America (2011-12) and The Last Days of Pompeii: Decadence, Apocalypse, Resurrection (2012-13), on Pompeii in the modern imagination from the eighteenth century to the present day. Acquisitions he made for Cleveland include Saint Peter of Alcantará by Pedro de Mena; Julius Caesar by Mino da Fiesole (an Apollo Magazine 2009 Acquisition of the Year); Henry Bone's Bacchus and Ariadne, and Italian Renaissance carved gems by Valerio Belli and Alessandro Cesati, and in 2013 the Association of Art Museum Curators awarded him the Outstanding Catalogue Essay prize for "The Last Days of Pompeii."