Felice Axelrod

Special Projects, Bloomberg Philanthropies | New York

Felice Axelrod provides special project and management services to both Bloomberg LP and
Bloomberg Philanthropies, including fundraising and event production. She managed special
events for the Bloomberg for Mayor campaign in 2009 and recently worked with the affinity
groups on Mike Bloomberg’s 2020 presidential campaign. Felice also consults with nonprofit
organizations on fundraising, event production, marketing and strategy and is currently
working with the 9/11 Memorial & Museum, Rudin Center for Transportation at NYU,
Asia Society, Perelman Performing Arts Center at the World Trade Center, Everytown for Gun
Safety, Cities of Service and the New American Economy. Former clients include The Fortune
Society, New York Law School, Lupus Research Alliance, American Friends of the Israel
Philharmonic, Hunter College and Citizens Committee for New York City, among others.

From 2000-2008 Felice was Senior Vice President for Corporate Events, Philanthropy and
Protocol at Lehman Brothers. There she created the employee volunteer program and
worked with the many nonprofits that Lehman supported. Prior to joining Lehman, she
was Assistant to the President and Director of Special Events at Mount Sinai NYU Health
as well as for the Mount Sinai and NYU Schools of Medicine. Previously she worked in
fundraising, special events and public relations for the Museum of the City of New
York and the New York Public Library.

Felice served as Mayor Bloomberg’s representative to the Brooklyn Academy of Music board
of trustees. She currently serves on the boards of the Women’s Forum of New York,
Finch College, Bachmann-Strauss Dystonia and Parkinson Foundation, Jeffrey
Modell Foundation, Mount Sinai Adolescent Health Center and ArtTable. Felice is also a
member of the finance committee for Biden for President.

She is the past president of The Council of Protocol Executives (COPE), a nonprofit association
for professional event planners and protocol officers, now known as EventFluence. Also, Felice
is a Corporate Etiquette and International Protocol Consultant certified by the Washington
School of Protocol.

Felice volunteers at several New York City organizations including Read Ahead, God’s Love We
Deliver, Children’s Hospital at Montefiore and LaGuardia Community College, among others.

Sarah McNaughton

Sarah develops and implements communications campaigns for arts organizations drawing upon her experience working in-house at galleries and non-profits.

Sarah joined Resnicow and Associates in 2019 and is currently working on communications campaigns for Phoenix Art Museum, Luhring Augustine, The Gordon Parks Foundation, the Art Dealers Association of America (ADAA), and the Rubell Museum.

Before joining R+A, Sarah worked as an Artist Liaison and Sales Associate at Pace Gallery and Lévy Gorvy, where she coordinated exhibitions of the galleries’ Western and Chinese artists and developed the galleries’ expansion into the Chinese and Hong Kong markets. Prior to that, she worked as a Curatorial and Research Assistant for the 2012 Shanghai Biennale, held a curatorial internship at the Rubin Museum of Art, and acted as Assistant Director at Eli Klein Fine Art.

Sarah received her Bachelor’s and Master’s degrees from Columbia University, where she studied Art History with a focus on Museum Studies. She also has a degree in East Asian Languages and Cultures and speaks Mandarin, having studied in Shanghai and Taipei.

Brooke Davis Anderson

Brooke Davis Anderson is the Museum Director at PAFA, the Pennsylvania Academy of the Fine Arts in Philadelphia, a position she has held since 2017. In this role Anderson is responsible for building the permanent collection and originating exhibitions for the first art museum in America: central to her leadership is expanding and making elastic the American art story to more fully include women artists and artists of color: ArtNet recently published articles delineating how PAFA is leading the way, nationally, in its acquisitions of artists of color and women. Anderson was recently honored by Rush Philanthropic Arts with an award for her dedication to diversity in the arts. 

Prior to moving to Philadelphia Anderson was the fourth Executive Director of Prospect New Orleans/U.S. Biennial (2013-2017) where she successfully implemented Prospect.3 and jump-started Prospect.4, all while making the organization debt free for the first time in its history (She closed the debt from Prospect.1, Prospect.1.5 and Prospect.2 while preparing for Prospect.4). Brooke also moved all operations from NYC to New Orleans with the belief that the project would be better poised for success if it emanated from its host city, and changed the project from a biennial to triennial. 

From 2010 to 2012 Anderson was the inaugural Deputy Director of Curatorial Planning at the Los Angeles County Museum of Art (LACMA). In this role, Anderson oversaw the Watts Towers Conservation and Community Collaboration, and the Curatorial Diversity Initiative, a Mellon-funded pilot program aiming to change the demographics of professionals in museums across the nation. Both of these celebrated programs are flourishing ten years later. From 1999 to 2010, Anderson was founding Director and Curator of The Contemporary Center at the American Folk Art Museum in New York, where she curated countless exhibitions (most notably projects on Martin Ramirez, Henry Darger, and other contemporary self-taught artists), authored several books and numerous articles, and led the $1 million acquisition of the Henry Darger Study Center: an effort supported largely by individual donors. Here, Brooke continued her commitment to demonstrating the porous nature of art history and made work by self-taught artists central to the NYC discourse. She has been an Assistant Professor at the following institutions – Columbia University, City College of New York, and Winston-Salem State University. 

From 1992-1999 Anderson was the first full-time director of the Diggs Gallery at Winston-Salem State University, where she tripled the budget, audience, programming, and publicity. During her tenure in North Carolina she was recognized by the Chronicle Newspaper as “Curator of African American Art,” and was honored by an endowment established in her name to ensure the museum’s future.

Jennifer Scanlan

Jennifer Scanlan is an independent curator focusing on contemporary art and design. She has worked in public art, exhibitions, and programming in government entities, organizations, and museums across the country, most recently as the Exhibitions and Curatorial Director at Oklahoma Contemporary in Oklahoma City. From 2013 through 2015 she was a New York-based independent curator working on exhibitions at the Museum of Arts and Design in New York City; the National Museum of Women in the Arts in Washington, D.C.; the Brattleboro Museum and Art Center in Vermont; the Samuel Dorsky Museum of Art at SUNY New Paltz; and the Museum of Biblical Art in New York. Prior to working independently, for twelve years she was Associate Curator at the Museum of Arts and Design in New York City. She has taught at Courtauld Institute of Art Summer School in London, England, and at Parsons The New School for Design in New York . She has a BA in art history and Italian from Vassar College, Poughkeepsie, New York, and an MA in the history of decorative arts, design, and culture from the Bard Graduate Center, New York, New York.

Laura Bardier

Laura Bardier (Montevideo, b.1976) is Executive Director of the James Howell Foundation (New York) and Director of ESTE ARTE International Contemporary Art Fair (Punta del Este). She has written on contemporary art in publications such as Domus, Arte al Día, Review, and has curated several exhibitions including ‘Robots’ at PAN in Naples (2008), ‘Los Impoliticos’ en PAN de Nápoles (2009) and ‘Richard Garet: Espacios no-Eucildeos’ at the EAC of Montevideo (2007). She has organized international panels and conferences including 2nd Forum on New Media Art, the 1st Forum on Documentation and Art and the New Media Art radio series for MoMA-PS1 radio, at the 52nd Venice Biennale.

In 2002 she collaborates with the Municipality of Naples, to create the first municipal center for contemporary art. From 2004-08 she served as curator at PAN, Naples Museum of Contemporary Art, where she oversaw contemporary programming and started the museum’s video art collection. Between 2008-10 she plays the role of curator of the private collection of Jonathon Carroll (New York / London), between 2010-13 in the collection of Daniel and Estrellita B. Brodsky (New York). Bardier received his master’s degree in new media curation at the Donaü Universität, Austria (2002). She is a member of the National Committee of Visual Arts of Uruguay, and has been a jury in several awards, such as the Cezanne Prize of the French Embassy in Uruguay and the Parsons School of Design.

Valerie Cassel-Oliver

Valerie Cassel Oliver is the Sydney and Frances Lewis Family Curator of Modern and Contemporary Art at the Virginia Museum of Fine Arts. Prior to her position at the VMFA, she was Senior Curator at the Contemporary Arts Museum Houston where worked from 2000 – 2017. She has served as director of the Visiting Artist Program at the School of the Art Institute of Chicago (1995-2000) and a program specialist at the National Endowment for the Arts (1988-1995). In 2000 she was one of six curators selected to organize the Biennial for the

Whitney Museum of American Art. During her tenure at the CAMH, Cassel Oliver organized numerous exhibitions including the acclaimed Double Consciousness: Black Conceptual Art Since 1970 (2005); Cinema Remixed & Reloaded: Black Women Artists and the Moving Image Since 1970 with Dr. Andrea Barnwell Brownlee (2009); a major retrospective on Benjamin Patterson, Born in the State of Flux/us (2010) and Radical Presence: Black Performance in Contemporary Art (2012). She has also mounted significant survey exhibitions for Benjamin Patterson, Donald Moffett, Trenton Doyle Hancock, Jennie C. Jones, Angel Otero and Annabeth Rosen. 

Her 2018 debut exhibition at the Virginia Museum of Fine Arts was a 50-year survey of work by Howardena Pindell entitled Howardena Pindell: What Remains to be Seen. The exhibition co-organized with Naomi Beckwith, the Manilow Senior Curator at the Museum of Contemporary Art Chicago, was named one of the most influential of the decade. Most recently, Cassel Oliver organized the exhibition, Cosmologies from the Tree of Life that featured over thirty newly acquired works from the Souls Grown Deep Foundation. She is currently developing the group exhibition, The Dirty South: Contemporary Art, Material Culture and the Sonic Impulse, scheduled to open at the VMFA May, 2021. Cassel Oliver is the recipient of a Getty Curatorial Research Fellowship (2007); the High Museum of Art’s David C. Driskell Award (2011); the Arthur and Carol Kaufman Goldberg Foundation-to-Life Fellowship at Hunter College (2016) and the James A. Porter Book Award from Howard University (2018). From 2016-17, she was a Senior Fellow in Curatorial Studies at the School of the Art Institute of Chicago. She is currently a visiting scholar at the University of Texas at Austin. Cassel Oliver holds a M.A. in art history from Howard University in Washington, D.C. and, B.S. in communications from the University of Texas at Austin.

Wendy Clark

Wendy Clark was appointed Director of Museums, Visual Arts, and Indemnity at the National Endowment
for the Arts in July 2014. In this position, she manages the NEA’s grantmaking portfolio for museums and
visual arts, oversees the Arts and Artifacts Indemnity program of the Federal Council on the Arts and
Humanities and special initiatives, such as the Blue Star Museums program.

Clark has more than 20 years of experience managing various federal grant programs and special
initiatives at the NEA in museums, visual arts, and design. In this capacity she advises hundreds of
museums and non-profit organizations annually regarding federal funding of exhibitions, conservation,
commissions, care of collections, artist residencies, educational outreach, and reinstallation projects.  She
has represented the agency annually at the American Alliance of Museums conference as both a
presenter and exhibitor. Clark is a member of ArtTable, an organization dedicated to advancing women’s
leadership in the visual arts field and the American Alliance of Museums.

Clark has worked on initiatives to make the NEA more accessible to Native American communities, tribal
governments and Historically Black Colleges and Universities. Other major responsibilities include
recruiting hundreds of national museum professionals and artists annually for peer review, and
adjudicating proposals for federal support. Additionally while at the NEA, she managed the Rosa Parks
Sculpture competition for the Architect of the Capitol, the American Masterpieces/Visual Arts Touring
Program and the Renna Scholarship Grants Program. Clark has been a juror for the United States Mint’s
Artistic Infusion Program to improve coin design and administered the cooperative agreements for the
Mayor’s Institute on City Design and Your Town, as well as the Challenge Grant Program for design and
construction of cultural facilities.

Clark has experience in executive search and recruiting, as Vice President of Arts Consulting Group, Inc.,
a full-service management consultancy for the cultural sector. She also has extensive training in diversity,
equity and inclusion, implicit bias, ethics, anti-harassment, Hatch Act, leadership, cyber-security, and
executive coaching.

Early in her career, Clark held positions at the Illinois Arts Council in public affairs, visual arts, and design.
There she worked on a traveling exhibition program initiative, and a cultural facilities planning and design
grant program called Building by Design, which was awarded a Federal Design Achievement Award by
the NEA’s Presidential Design Awards jury. She was an NEA Fellow in arts administration, and was the
chairman of the Design Review Committee for the Civic Association of Hollin Hills, a mid-century modern
residential development designed by architect Charles Goodman and landscape architect Dan Kiley.
Clark has a bachelor’s degree from the University of Michigan and studied Elizabethan history, art, and
literature at New College, Oxford University. She is originally from Dayton, Ohio.