Virtual | Curatorial Perspective – “Craft and Camera: The Art of Nancy Ford Cones” with Rebekah Beaulieu & Pepper Stetler

January 12, 2023 | 5:00 pm

An early 1900s photograph by Nancy Ford Cones of a woman and child sitting in an old fashioned car. The woman wears a wide brimmed hat, a long dress and coat with gloves. The child wears all white and holds a large, old fashioned Kodak camera. Both are smiling.
2pm PST / 3pm MST / 4pm CST / 5pm EST

Please join us for a virtual discussion of Craft and Camera: The Art of Nancy Ford Cones, with ArtTable member Rebekah Beaulieu, Louise Taft Semple President & CEO of the Taft Museum of Art, and Pepper Stetler, Guest Curator and Associate Professor of Art History at Miami University’s College of Creative Arts.

On a small riverside farm in Loveland, Ohio, Nancy Ford Cones created photographs that earned her a national reputation during a time when female artists continued to struggle for recognition. Despite the praise they received during her lifetime, Cones’s imaginative and exquisitely crafted works were largely forgotten after her death. This exhibition resurrects the gifted artist’s career and contributions to the field of photography.

Between about 1900 and 1939, Cones made thousands of photographs that featured country life, fantastical visions, and literary characters. To create her images, she employed the help of neighbors, friends, and family who posed in costume around the farm and its environs. Working in partnership with her husband James, who printed her work using a variety of techniques and papers, Cones conceived evocative subjects that emulated 19th-century European paintings.

Nancy Ford Cones’s photographs were published in prestigious journals such as Camera Craft, as well as in popular outlets that included National Geographic magazine and Kodak advertisements. The first major presentation of her work, this exhibition and its accompanying catalog will demonstrate that she was an exceptional artist who rivaled the top photographers of her time.

Admission:

  • ArtTable Circle Members – Free
  • All Other ArtTable Members – $10
  • General Public – $15

Not a member? Join today!

Register Here button

After registration, you will receive an email containing the Zoom link.
All virtual programs offer live automatic closed captioning.


About Rebekah Beaulieu

Rebekah “Becky” Beaulieu, Ph.D. is the Louise Taft Semple President/CEO of the Taft Museum of Art. She previously served as the Director of the Florence Griswold Museum in Old Lyme, Connecticut and as Associate Director of the Bowdoin College of Art in Brunswick, Maine.

Becky is the author of Financial Fundamentals for Historic House Museums (Rowman & Littlefield, 2017), co-editor of The State of Museums: Voices from the Field (MuseumsEtc., 2018), and author of the newly published Endowment Essentials for Museums (Rowman & Littlefield, 2022). She holds an M.A. in Art History and Museum Studies from the University of Wisconsin-Milwaukee and in Arts Administration from Columbia University; she earned her Ph.D. in American and New England Studies from Boston University. Becky also serves as an American Association of Museums’ Accreditation Commissioner, Treasurer of the American Association for State and Local History, and as editor of the American Association of State and Local History book series for Rowman & Littlefield.

About Pepper Stetler

Pepper Stetler, Associate Professor of Art History, received her B.A. from Barnard College (2001) and her M.A. and Ph.D. (2004, 2009) in Art History from the University of Delaware.

Professor Stetler’s research focuses on the art and visual culture of early twentieth-century Europe. Her book Stop Reading! Look!: Modern Vision and the Weimar Photographic Book, published by the University of Michigan Press in 2015, provides a new perspective on the prominence of photography in Germany Weimar Republic (1918-1933). It addresses how the display and sequencing of photographs in books relates to contemporary debates on modern visual experiences. Photographic books by Laszlo Moholy-Nagy, Albert Renger-Patzsch, Karl Blossfeldt, Helmar Lerski, and August Sander figure prominently in her research.


Image: Nancy Ford Cones (American, 1869–1962), Mama’s Kodak, about 1912, gelatin silver print, 6 x 4 3/8 in. Collection of W. Roger and Patricia K. Fry

Miami | A Day at the Deering

August 21, 2022 | 11:00 am 2:30 pm

An aerial shot of the Deering Estate

Please join us for a visit to Miami’s Deering Estate, a historical landmark preserving the 1920s era estate of Charles Deering, Chicago industrialist, early preservationist, environmentalist, art collector, philanthropist and first chairman of the International Harvester Company. Nestled along the coast in South Dade, the Deering Estate is a cultural asset and historic site listed on the National Register of Historic Places.

Charles Deering died in 1927, but the Estate remained with his heirs until 1986 when it was purchased by the State of Florida, and added to the National Registry of Historic Places. Most of Charles Deering’s original collection was donated to the Art Institute of Chicago and the Libraries at Northwestern by his daughters. Some items have been brought back to the site through the generosity of members of the Deering Family and can be seen in the homes today. Other antique objects, representative of the style and era of the original contents are used for interpretation throughout the homes.

Program Itinerary

  • 11:00 AM – Welcome! Enjoy networking and snacks in the Great Hall.
  • 11:30 AM – Enjoy a roundtable/presentation by Melissa Diaz, Head Curator and Museum Manager, and Becky Franco, one of the exhibiting artists, regarding the exhibition about the Stone House.
  • 12:00 PM – Melissa will provide a tour of the Stone House, the upstairs, downstairs and wine cellar. There may also be an option to visit some of the residences (depending on which artists will be present).
  • 2:30 PM – Program ends.

Admission:

  • ArtTable Members – $10
  • Member Guests/Non-Members – $20

Your ticket includes access to the estate, a private tour, and light refreshments.

Not a member? Join today!

Please review the below before registering:

Face masks are optional and dependent on the comfort of the individual.

Please note that by registering for this event you consent to have your contact information shared with ArtTable to be used in the event that contact tracing is needed. Please note that these guidelines are subject to change as needed.

The Deering Estate is fully ADA compliant and can also provide golf cart access for anyone who needs it. Seating will be available for the duration of the program. Please contact programs@arttable.org if you require any accommodations.

The Deering Estate is located at 16701 SW 72nd Avenue, Miami, Florida 33157. Free parking is available in the lot on 168th Street and along 72nd Avenue. Upon arrival, check in at the main gate and take the path to the Stone House, where our program will take place.

Register Here button

About the Speakers

Headshot of Melissa DiazMelissa Diaz is the Head Curator and Museum Manager for the Deering Estate. Melissa is an Art Historian with a focus in Post-war Italian art, and contemporary art theory and practices. At the Deering Estate she oversees the historic house museums, coordinates and curates exhibitions, programing and directs the Estate’s multi-tiered Artist in Residence Program including visual, performing and literary arts.

Prior to the Deering Estate, she held positions in several museums and galleries throughout South Florida including the Institute of Contemporary Art Miami, David Castillo Gallery, and Miami Art Museum (now Pérez Art Museum Miami). She also manages and oversees studio operations for Leonardo Drew. She has taught courses in art history and museum studies for Miami Dade College, Florida International University and New World School of the Arts.

As an independent curator, Diaz has organized several contemporary art exhibitions in South Florida and New York. She received a Master of Arts in Art History from University of South Florida and a Master of Business Administration from the University of Miami. Melissa was first recipient of the Liesbeth Bollen Award from the Peggy Guggenheim Collection in Venice, Italy.

Headshot of Becky FrancoBecky Franco was born in Havana, Cuba. She escaped Cuba with her family in 1961. She completed in the United States a BFA with Honors from Pratt Institute, New York in 1974. Becky has always been interested in painting on a large scale influenced by the Photo Realist movement of the seventies. Upon graduating, she sought employment in the difficult and male dominated field of outdoor advertising, where she got the opportunity to create large hand painted billboards and had the distinction to prove herself as a competent female artist. She became the first female billboard artist to be hired in the outdoor industry and join The Sign & Pictorial Display Union, Local #230 in the U.S.

She painted large billboards for fifteen years and when digital computer imaging threatened the outdoor advertising industry making it extinct, she shifted her focus by becoming an independent art professional gaining many private Painting and Mural commissions. Her paintings were featured in many publications including Newspapers and a Rizzoli book called Tromp L’Oeil At Home by Karen Chambers. Becky has always remained interested in the expansion and refinement of her skills. To that end, after many years as an independent art professional, in 2008 she returned to academia to attain an MFA from Queens College, New York. In 2011 Becky was awarded the Artist Residency Express + Local: NYC Aesthetics at The Queens College Art Center, Rosenthal Library, Flushing, New York. Becky’s paintings have been exhibited in a number of group shows, a two woman exhibition, and most recently at The Islip Art Museum exhibition about Caribbean artists called LA PLACITA where the New York Times interviewed her about her work. In 2013 Becky had her second solo exhibition CHOSEN at Soho20Chelsea gallery, New York. Most recently El Museo Del Barrio included two of her paintings in LA BIENAL 2013, Here Is Where We Jump.

In 2014 Becky was a Cintas Fellowship Finalist – Museum of Art + Design in Miami. Becky in 2015 exhibits in the group show, LAST EXIT: PAINTING in The Audrey Love Gallery at The Bakehouse, Miami. In 2020 Franco was awarded an Artist Residency at The Deering Estate. Franco now teaches Oil painting at Miami Dade College and continues pursuing her career as a professional artist.

Deering Estate

16701 SW 72nd Avenue
Miami, Florida 33157 United States
+ Google Map
View Venue Website

Virtual | Landmarks: A Discussion on Public Art, with Sarah Oppenheimer & Andrée Bober

September 1, 2022 | 5:00 pm

Art installation by Sarah Oppenheimer
2pm PT / 3pm MT / 4pm CT / 5pm ET

Please join us for a virtual conversation between artist Sarah Oppenheimer and Andrée Bober, founding director and curator of Landmarks, the public art program of The University of Texas at Austin. The discussion will offer an inside look at C-010106, Oppenheimer’s recent commission for the university’s College of Engineering. Oppenheimer and Bober will introduce the work and share insights on developing a major outdoor public art project within a unique and complex architectural setting.

C-010106 consists of two structures positioned at opposite ends of a new pedestrian footbridge on the Texas Engineering campus. Each structure features four panes of glass⎯ two reflective, diagonal sheets sandwiched between two vertical sheets. At the intersection of the four panes, the glass passes through an incision in the bridge’s surface, enabling pedestrians on top of the bridge to see the reflections of those underneath, and vice versa.

Oppenheimer pushes the boundaries between sculpture and architecture, questioning the limits of both mediums. The artist shifts our frame of spatial reference, displacing our experience of inside and out, and inverting our sense of what is near and far. In doing so, Oppenheimer heightens our awareness of the shared environment and creates unexpected opportunities for social exchange.

C-010106 is Oppenheimer’s first entirely outdoor public work and is among the artist’s largest works to date. Sited on the Peyton Yates Family footbridge connecting the Engineering Education and Research Center (EERC) to the new Gary L. Thomas Energy Engineering Building (GLT)—designed through a collaboration of Jacobs and Ennead—the work features architectural materials that have been engineered with unique specificity.

Admission:

  • ArtTable Circle Members – Free
  • All Other ArtTable Members – $10
  • Member Guests/Non-Members – $20

Not a member? Join today!

Register Here button

Can’t make the program at this time? Register anyway to receive a recording after!

Please note that this program will offer automatic closed captioning services. If you require additional accommodations, please email programs@arttable.org.

ArtTable is a 501.c.3 organization. All programs are non-refundable. Click here to view our cancellation policy.


About Andrée Bober

Andrée Bober is the founding director and curator of Landmarks , the public art program at The University of Texas at Austin. Building upon a long term loan with the Metropolitan Museum of Art, she has commissioned major works by artists such as Ann Hamilton, José Parlá, Nancy Rubins, Jennifer Steinkamp, and James Turrell. Bober also created Landmarks Video in 2010, an ongoing series of video art. She previously led the Contemporary Arts Center Cincinnati through the successful completion of its Zaha Hadid designed facility, both as deputy and then acting director. Bober studied art history and museology at The University of Texas at Austin, practiced painting conservation in Vienna, Austria, and earned a Master of Arts in Arts Administration from Columbia University in New York. Her recent publications include The Collections: The University of Texas at Austin (2016) and Landmarks (2018). She lives with her family in Chevy Chase, Maryland.

About Sarah Oppenheimer

Sarah Oppenheimer (b. 1972, Austin, Texas) has lived and worked in New York City since earning a Bachelor of Arts from Brown University in 1995 and a Master of Fine Arts from Yale University in 1999. Oppenheimer’s work has been featured in solo exhibitions at Kunstmuseum Thun, Switzerland (2020); MASS MoCA, North Adams,Massachusetts (2019); the Wexner Center for the Arts, Ohio State University, Columbus,Ohio (2017); the Pérez Art Museum Miami, Florida (2016); MUDAM: Musée d’ArtModerne Grand-Duc Jean, Luxembourg (2016); and Kunsthaus Baselland, Muttenz,Switzerland (2014). The artist is a recipient of the Rome Prize Fellowship (2011–12), Louis Comfort Tiffany Foundation Fellowship (2009), and Guggenheim FoundationFellowship (2007). Oppenheimer is currently a senior critic at the Yale University School of Art.

About Landmarks

Landmarks is the award-winning public art program of The University of Texas at Austin and the College of Fine Arts. Its collection of modern and contemporary art celebrates diverse perspectives, featuring commissioned projects alongside sculptures on long term loan from the Metropolitan Museum of Art. Landmarks inspires thought and growth by making great art free and accessible to all.


Image: Sarah Oppenheimer, C-010106, 2022 / Aluminum, steel, glass, and architecture / Two forms: 191 x 125 x 35” and 156 x 125 x 35” / Courtesy of Landmarks, The University of Texas at Austin / Photo by Richard Barnes

Chicago | Tour & Reception: ‘Theodora Allen: Saturnine’ at the Driehaus Museum, with Anna Musci & Stephanie Cristello

August 4, 2022 | 5:00 pm 7:00 pm

Please join us for a tour of Theodora Allen: Saturnine at the Driehaus Museum. Prior to the tour, enjoy a private half-hour reception with Anna Musci, Executive Director of the Driehaus Museum, and Stephanie Cristello, the Exhibition Curator. Stick around afterwards for a Gilded Age cocktail demo and tasting!

The exhibition marks the latest iteration of the Museum’s newest initiative: A Tale of Today. It features work by leading contemporary artists to expand the immersive experience and to shape our understanding of the world through the art, architecture, design, and cultural history of the Nickerson Mansion, the Museum’s home. Curated by Stephanie Cristello, Theodora Allen: Saturnine derives its title from figure of Saturn and its historical association with melancholy, often referred to as the curse of artists. Visitors to the Museum will see Allen’s luminous and meditative compositions. They are filled with a lexicon of snakes, planets, moons, and plant life – motifs that draw from ancient Greek mythology, literature, fin-de-siècle Europe, and the zeitgeist of 1960s California.

Admission:

  • ArtTable Members – $35
  • Member Guests/Non-Members – $45

Your ticket includes the tour and access to the reception as well as discounted general admission to the museum.

Not a member? Join today!

Please review the below before registering:

Please note that by registering for this event you consent to have your contact information shared with ArtTable to be used in the event that contact tracing is needed.

Health and Safety Measures

  • Time-ticketed admissions and periodic head count monitoring throughout the day will aid in regulating capacity.
  • Enhanced and frequent cleaning procedures and schedules have been put into place.
  • Credit card only transactions are allowed at this time.
  • Guest who feel sick prior to their admission time are required to reschedule their visit.

Please note: Exposure to COVID-19 is an inherent risk in any public place where people are present. Despite all precautionary measures taken, we cannot guarantee that you will not be exposed during your visit. Your cooperation with Museum policies, including the safety measures outlined here and on signs posted throughout the Museum, is required during your visit. Please follow protection measures as outlined by the CDC before and during your visit.

Elevators service all three floors of the Driehaus Museum. The wheelchair accessible entrance is located at 50 East Erie Street, next door to the museum’s main entrance.

Large print labels are available upon request from a Museum representative during your visit.

The Driehaus Museum is located at 40 East Erie Street, Chicago, IL on the north-east corner of Wabash and Erie, just two blocks west of Michigan Avenue.

While we do not offer parking onsite, the Museum validates the following garage:
ROW Self-Park
50 East Ohio Street
Chicago, IL 60611

The rate is $16 for up to 6 hours. Validation is available at the Admissions desk.

Additional parking options are available through SpotHero, the nation’s leading parking reservation app.

To reserve your parking spot, visit the Driehaus Museum SpotHero Parking Page and book a spot with rates up to 50% off drive-up.

Register Here button

About Anna Musci

About Anna Musci

Headshot of Anna MusciAnna Musci came to the Driehaus Museum after a 30-year career engaged in new business strategy in the financial services industry and advisory services to private clients, family offices, nonprofit organizations, and corporations in wealth management and estate planning. She served as a business development liaison to the investment banking, commercial lending, and private client services divisions of UBS Financial Services, CIBC Oppenheimer, Alex. Brown & Sons, and LaSalle Bank. At the Driehaus Museum she led the retail development strategy and started the first External Affairs department before serving in her current role as the Museum’s Executive Director in 2020.

A lifelong Chicagoan, Musci has demonstrated a commitment to serving her community. She is a sustaining member of the Junior League of Chicago, where she has held numerous advisory, committee chair, and board positions; member of the Association of Fundraising Professionals; member of the The Magnificent Mile Association; member of Women Investment Professionals; past Committee Chair for Chicago’s Old Town Art Fair; past director and treasurer of Famous Door Theatre Company; past tutor and advisory board member of Chicago Lights; and Recording for the Blind volunteer. Musci holds a Bachelor of Business Administration from St. Mary’s College of Notre Dame, Indiana and Rome, Italy.

About Stephanie Cristello

Headshot of Stephanie CristelloStephanie Cristello (b. 1991) is a contemporary art critic, curator, and author based in Chicago, IL. Her work focuses on artists who critically engage with the image and its role in visual culture. Cristello was previously the Senior Editor US for ArtSlant (2012–2018). She is also the founding Editor-in-Chief of THE SEEN, Chicago’s International Journal of Contemporary & Modern Art. Her writing has been published in ArtReview, BOMB Magazine, Elephant Magazine, Frieze Magazine, Mousse Magazine, OSMOS, and Portable Gray, published by the University of Chicago Press. She graduated from the School of the Art Institute of Chicago in 2013 with a Liberal Arts Thesis in the Visual Critical Studies Department. She served as the Artistic Director of EXPO CHICAGO (2013–2020) and is currently the Director / Curator at Chicago Manual Style. In 2020–21 she was a Guest Curator at Kunsthal Aarhus (Denmark) and the Malmö Art Museum (Sweden), as well as a Curatorial Advisor to the 2020 Busan Biennale (South Korea). She is the author of Theodora Allen: Saturnine (Motto / Kunsthal Aarhus, 2021) and the forthcoming book Barbara Kasten: Architecture and Film 2015–2020 (Skira, 2022), which was awarded a publication grant from the Graham Foundation.

New York | Curator’s Talk with Cecilia Alemani, Artistic Director of the 59th Venice Biennale, on “The Milk of Dreams”

June 22, 2022 | 5:00 pm

Headshot of Cecilia Alemani; catalog cover for "The Milk of Dreams"

The James Howell Foundation and ArtTable present a special curator’s talk with Cecilia Alemani, Artistic Director of the 59th International Art Exhibition of La Biennale di Venezia, on this edition’s theme: “The Milk of Dreams.” Alemani will be in conversation with Laura Bardier, Executive Director of the James Howell Foundation.

Organized around Leonora Carrington’s The Milk of Dreams, the exhibition reflects on what it means to be human today. It focuses on three thematic areas in particular: the representation of bodies and their metamorphoses; the relationship between individuals and technologies; and the connection between bodies and the Earth.

This program is free and open to ArtTable Circle, Board, and Executive level members only. Registration is required. ArtTable Circle and Board members receive priority registration. Registration for Executive level members will open on Wednesday, June 8, 2022.

Not a member? Join today!

Please review the below before registering:

Face masks are optional though recommended inside the gallery.

Please note that by registering for this event you consent to have your contact information shared with the James Howell Foundation and ArtTable to be used in the event that contact tracing is needed.

The James Howell Foundation is wheelchair accessible.

If you would like more information about accessibility or need particular accommodations for this program, please email Haley at programs@arttable.org.

The James Howell Foundation is located in the West Village neighborhood of New York City. The nearest subway station is Christopher Street (1 and 2 trains). The exact address will be shared with attendees upon registration.

Register Here button

About the Cecilia Alemani

Cecilia Alemani is an Italian curator based in New York. Currently, she is the Artistic Director of the upcoming 59th International Art Exhibition (2022) in Venice. Since 2011, she has been the Director & Chief Curator of High Line Art, the public art program presented by the High Line in New York. In 2018, Alemani served as Artistic Director of the inaugural edition of Art Basel Cities: Buenos Aires. In 2017, she curated the Italian Pavilion at the Venice Biennale.

About the James Howell Foundation

The James Howell Foundation is a proud sponsor of the 59th International Art Exhibition of La Biennale di Venezia “The Milk of Dreams.” The James Howell Foundation supports Howell’s vision of committed investigation of like-minded endeavors through a variety of professional programs and projects. The Foundation creates and furthers philanthropic initiatives that empower art professionals, curators and artists, as a contribution to cultural and humanistic advancement.

About The Milk of Dreams

“The Milk of Dreams” takes its title from a book by Leonora Carrington (1917–2011) in which the Surrealist artist describes a magical world where life is constantly re-envisioned through the prism of the imagination. The exhibition The Milk of Dreams takes Leonora Carrington’s otherworldly creatures, along with other figures of transformation, as companions on an imaginary journey through the metamorphoses of bodies and definitions of the human.

This exhibition is grounded in many conversations with artists held in the last few years. The questions that kept emerging from these dialogues seem to capture this moment in history when the very survival of the species is threatened, but also to sum up many other inquiries that pervade the sciences, arts, and myths of our time. How is the definition of the human changing? What constitutes life, and what differentiates plant and animal, human and non-human? What are our responsibilities towards the planet, other people, and other life forms? And what would life look like without us?


Thank you to ArtTable Board member Laura Bardier for organizing this program.

Image: Cecilia Alemani; Cover art for the 59th Venice Biennale Catalog

The James Howell Foundation

New York, New York 10014 United States + Google Map
View Venue Website

Virtual | Curatorial Perspective: ‘Cartier and Islamic Art’ at the Dallas Museum of Art, with Senior Curator of Decorative Arts and Design, Sarah Schleuning

June 7, 2022 | 1:00 pm

A silver crown, a purple and blue stone necklace, a silver Cartier bracelent
10am PT / 11am MT / 12pm CT / 1pm ET

Please join us for a virtual presentation of highlights from the exhibition Cartier and Islamic Art: In Search of Modernity led by Sarah Schleuning, Senior Curator of Decorative Arts and Design at the Dallas Museum of Art.

This major exhibition traces Islamic art’s influence on the objects created by Louis Cartier and the designers of the great French jewelry Maison from the early 20th century to today. The exhibition explores how Cartier’s designers adapted forms and techniques from Islamic art, architecture, and jewelry, as well as materials from India, Iran and the Arab lands, synthesizing them into a modern stylistic language unique to the house of Cartier.

Co-organized by the Dallas Museum of Art and the Museé des Arts Décoratifs, Paris, in partnership with the Maison Cartier, Cartier and Islamic Art presents over 400 objects from major international collections, including the Department of Islamic Arts at the Louvre Museum and the Keir Collection of Islamic Art on loan to the Dallas Museum of Art.

Admission:

  • ArtTable Circle Members – Free
  • All Other ArtTable Members – $10
  • Member Guests/Non-Members – $20

Not a member? Join today!

Register Here button

Can’t make the program at this time? Register anyway to receive a recording after!

Please note that this program will offer automatic closed captioning services. If you require additional accommodations, please email programs@arttable.org.

ArtTable is a 501.c.3 organization. All programs are non-refundable. Click here to view our cancellation policy.


About the Curator

Headshot of Sarah SchleuningSarah Schleuning is dedicated to presenting and promoting the power and impact of design to the public through exhibitions, publications, and programming. Schleuning has a record of organizing thoughtful exhibitions and programs that are not only high profile and highly popular, but also recognized for their contributions to scholarship. She has more than two decades of expertise in forming relationships with living designers and artists, bridging the gap between historical and contemporary design, and exploring how engaging with art and design can extend beyond museum walls. She is the Margot B. Perot Senior Curator of Decorative Arts and Design at the Dallas Museum of Art, and her recent exhibitions and publications include the upcoming Cartier and Islamic Art: In Search of Modernity, Electrifying Design: A Century of Lighting, and Curbed Vanity: A Contemporary Foil by Chris Schanck.

As Senior Curator of Decorative Arts and Design, Schleuning oversees the decorative arts and design collection, internationally recognized as one of the foremost decorative arts collections in the United States. The collection includes more than 8,000 works of art from the 15th century to the present, with a strength in European and American decorative arts, most significantly 18th-century English silver, 19th- and 20th-century American silver and ceramics, and modern and contemporary jewelry and design. As the Museum focuses on the expansion of its contemporary holdings, Schleuning’s deep experience in working with and maintaining relationships with contemporary designers and artist is a significant asset, as is her interest in connecting design’s past and present. Among her other responsibilities, Schleuning also oversees the decorative arts and design collection planning, development, scholarship, and acquisitions.

Schleuning served as Curator of Decorative Arts and Design at the High Museum of Art, Atlanta, from 2011 until 2018. She organized numerous exhibitions, including two of the 10 most attended exhibitions in the museum’s history. She was co-organizing curator for the nationally touring exhibition Iris van Herpen: Transforming Fashion, which broke attendance records and became the eighth most-attended show at the High Museum of Art. Other notable exhibitions that ranged from historical scholarship to pushing the conceived boundaries of what defines a museum exhibition were Technicolor: New Works by Jaime Hayon (2017); Dream Cars: Innovative Design, Visionary Ideas (2014), the 10th most-attended show at the High Museum; Earl Pardon’s Portable Art: Jewelry & Design (2015); and Bangles to Benches: Contemporary Jewelry and Design (2013). From 2013 to 2018, she curated five dynamic and highly acclaimed designer interventions/playscapes that engages the community by activating the High’s Sifly Piazza, and through that established the designer-in-residency project.

Prior to joining the High Museum, Schleuning served as Curator at The Wolfsonian–Florida International University, having previously held positions as a Fellowship Coordinator and Assistant Curator at the institution, where she produced exhibitions, publications, and programs with a focus on highlighting the power and impact of art and design in daily life. Before that, she worked at the Cranbrook Art Museum in Bloomfield Hills, Michigan, beginning in 2000 as Curatorial Collections Fellow, advancing to Assistant Curator with a focus on art, architecture, craft, and design.

Schleuning graduated from Cornell University College of Arts and Sciences with a Bachelor of Arts. She received her Master of Arts in the History of Decorative Arts from Cooper-Hewitt National Design Museum in conjunction with Parsons School of Design. In 2015 she was a fellow at the Center for Curatorial Leadership. She frequently contributes to scholarly publications and serves as a leading resource for decorative arts and design, delivering lectures and speaking at symposiums and public programs throughout the country.


Images: Bandeau, Cartier Paris, special order, 1923. Platinum, diamonds. Made as a special order for Madame Ossa Ross. Cartier Collection. Vincent Wulveryck, Cartier Collection © Cartier / Bib necklace, Cartier Paris, special order, 1947. Twisted 18-karat and 20-kar-at gold, platinum, brilliant- and baguette-cut diamonds, one heart-shaped faceted amethyst, twenty-seven emerald-cut amethysts, one oval faceted amethyst, turquoise cabochons. Cartier Collection. Nils Herrmann, Cartier Collection © Cartier / Bracelet, Cartier Paris, 1923. Platinum, diamonds. Cartier Collection. Vincent Wulveryck, Collection Cartier © Cartier

Thank you to ArtTable member Sarah McNaughton for organizing this program.

Link.

DC | Exhibition Tour – ‘Afro-Atlantic Histories’ at the National Gallery of Art, with curators Kanitra Fletcher and Molly Donovan

April 26, 2022 | 10:00 am

Artwork by Zanele Muholi

Please join us for a tour of Afro-Atlantic Histories at the National Gallery of Art, led by curators Kanitra Fletcher and Molly Donovan.

For centuries, artists have told and retold the complex histories of the African Diaspora. The exhibition Afro-Atlantic Histories explores this enduring legacy through a wide range of works of art inspired by the historical experiences and cultural formations of Black and African people since the 17th century. More than 130 powerful works, including paintings, sculpture, photographs, and time-based media by artists from Africa, Europe, the Americas, and the Caribbean, bring these narratives to life. This exhibition was initially presented as Histórias Afro-Atlânticas in 2018 by the Museu de Arte de São Paulo in Brazil.

For additional information about the exhibition and related programming, visit the National Gallery of Art website.

This program is free for ArtTable members and non-members.

Not a member? Join today!

Please read before registering:

Please note that by registering for this event you consent to have your contact information shared with ArtTable to be used in the event that contact tracing is needed.

Face Masks

Beginning March 11, face masks are optional at the National Gallery but are encouraged.

Vaccination

At this time, no proof of vaccination is required for entry or dining.

Health Self-Check

Please help protect other museum visitors and staff by conducting on the day of the scheduled visit, prior to entry, a self-check of your health and the health of anyone planning to visit the National Gallery with you. If you or anyone in your group answers “yes” to any of the questions below, you must reschedule your visit for another day.

  • Have you tested positive for COVID-19 in the last 14 days?
  • Do you live with someone who has tested positive for COVID-19 in the last 14 days?
  • Have you had close contact with someone who has tested positive for COVID-19 in the last 14 days? Note: Close contact is defined as being within 6 feet of an infected person for a cumulative total of 15 minutes or more over a 24-hour period and/or having direct contact with mucus or saliva.
  • In the last 48 hours, have you had any of the following symptoms?
  • Fever (100.3˚F or higher) or chills; cough; shortness of breath or difficulty breathing; fatigue; muscle or body aches; headache; new loss of taste or smell; sore throat; congestion or runny nose; nausea or vomiting; diarrhea.

An inherent risk of exposure to COVID-19 exists in any public place. Visitors to the National Gallery voluntarily assume all risks related to COVID-19 exposure.

Everyone is welcome at the National Gallery of Art. The museum is committed to making the collection, buildings, and programs accessible to all audiences.

Arriving & Parking

The 6th Street entrance to the West Building and the 4th Street entrance to the East Building have ramps to accommodate wheelchairs and strollers, and elevators at these entrances provide access to galleries and public areas. To provide an address for MetroAccess Paratransit, please use 201 6th Street NW for the West Building or 150 4th Street NW for the East Building.

Limited parking is set aside for vehicles bearing appropriate tags or placards for visitors with disabilities on the 4th Street Plaza outside of the East Building.

While the East Building is temporarily closed through June 2022, the museum encourages anyone who plans to use these parking spots to first drop off visitors with limited mobility at the 6th Street entrance to the West Building prior to parking. See more info about getting there.

Wheelchair Access

Visitors may borrow wheelchairs at all entrances on a first-come, first-served basis for use within the East and West Buildings. The two buildings are connected by an underground moving walkway. All public spaces and facilities are accessible by elevator. If you require assistance, please ask a security officer.

Visitors who need assistance standing for long periods are asked to bring a wheelchair or use one of the limited number of wheelchairs the National Gallery has made available.

Please note: for elevator access throughout the East Building, there are two available elevators outside of Tower 1 and Tower 2. For elevator access from the East Building Ground, Mezzanine, Upper Levels, or Towers to the Concourse Level or West Building, please use the elevator outside of Tower 2. A larger elevator, located in Tower 1, is also available and provides access to all levels of the East Building

Service Dogs

Service dogs are permitted in the East and West Buildings as well as in the Sculpture Garden.

Assistive Listening Devices

East Building auditoriums and the West Building Lecture Hall are equipped with listening enhancement systems. The receivers and neck loops necessary to use these systems can be borrowed from Information Desks in the East Building (near the entrance) or West Building (6th Street and Constitution Avenue entrance).

Please email programs@arttable.org if you require additional accessibility information for this program.

The National Gallery of Art campus is located between 3rd and 9th Streets along Constitution Avenue NW, Washington, DC 20565.
Metrobus and Metrorail
The museum is located near several Metrorail stops, the closest at Archives–Navy Memorial–Penn Quarter on the Green and Yellow lines. Metrobuses stop along 7th Street and Pennsylvania Avenue NW.
Circulator Bus
The Washington D.C. Circulator Bus runs between the city's main attractions and some of the more popular neighborhoods for visitors. Circulator Bus fare is $1 per person. The museum is located on the National Mall route.
Capital Bikeshare
A Capital Bikeshare station is located near the East Building at 4th Street and Madison Drive, NW.
Parking
We encourage you to take advantage of public transportation. There is no public parking facility at the National Gallery, though limited parking is set aside for visitors with disabilities whose vehicles have the appropriate tags or placards. Parking is available on surrounding streets and in commercial garages.

Thank you to the Shelley Langdale, ArtTable DC Member, for organizing this program.

Image: Zanele Muholi, Ntozahke II, (Parktown), 2016, photographic wall mural from digital files, sheet: 355.6 x 254 cm (140 x 100 in.), National Gallery of Art, Washington, Alfred H. Moses and Fern M. Schad Fund, 2021.88.1, © Zanele Muholi. Courtesy of the artist, Yancey Richardson, New York, and Stevenson Cape Town/Johannesburg


About the Curators

Headshot of Kanitra FletcherKanitra Fletcher is the Associate Curator of African American and Afro-Diasporic Art, Department of Modern and Contemporary Art, National Gallery of Art. Fletcher is responsible for guiding the museum’s collection of African American art. Prior to joining the National Gallery, Fletcher worked at the Museum of Fine Arts, Houston, where she oversaw the presentation of such major traveling exhibitions as Soul of a Nation: Art in the Age of Black Power and Odyssey: Jack Whitten Sculpture, and began the co-organization of the U.S. iteration of Afro-Atlantic Histories, an exhibition that was first conceived and presented by the Museum de Arte São Paulo in Brazil. The exhibition was displayed at the MFA, Houston in fall 2021/winter 2022 and is now open at the National Gallery. Fletcher has published essays in books and journals and presented research at international conferences on Afro-diasporic art as it relates to politics of the body, gender, and labor as well as aesthetics and the avant-garde. Institutions where she previously worked include the Bronx Museum of the Arts, The Museum of Modern Art, and the New Museum of Contemporary Art. Since 2013, she has curated an ongoing video art series for Landmarks public art program at the University of Texas at Austin. Fletcher received a B.A. in English Literature from Rutgers University-New Brunswick, an M.A. in Latin American Studies with concentrations in Art History and Brazilian Studies from University of Texas at Austin, and a PhD in History of Art from Cornell University.

Headshot of Molly Donovan

Molly Donovan is curator of contemporary art at the National Gallery of Art, where she has worked since 1993. Together with NGA colleagues Kanitra Fletcher and Steven Nelson, Molly has co-curated Afro-Atlantic Histories which opened on April 10, 2022, at the National Gallery following its debut at the Museum of Fine Arts, Houston, and an earlier iteration in São Paulo, Brazil. Donovan’s notable recent projects include the monographic exhibition of work by Lynda Benglis, drawn from the National Gallery’s collections which just closed in January, and the major show featuring British sculptor Rachel Whiteread, on which she collaborated with Tate Britain, where it opened in London in 2017 before traveling to Vienna, Austria, Washington, DC, and ultimately to the Saint Louis Art Museum in 2019. Additional exhibitions that Donovan organized include In the Tower: Barbara Kruger (2016 – 2017); Warhol: Headlines, which opened in Washington in 2011 before it travelled to Frankfurt, Rome, and Pittsburgh; and Christo and Jeanne Claude’s in the Vogel Collection in Washington and La Jolla in 2002. In 2016, Donovan inaugurated thematic installations for the contemporary collection of the National Gallery, including “Bodies of Work,” “Flow,” and “Markers and Signs.”  Her acquisitions for the National Gallery of Art have reshaped its collection to include more works by living artists, particularly women and people of color. Molly has written and lectured on numerous artists (in addition to the aforementioned)—including Janine Antoni, Byron Kim, Kimsooja, Glenn Ligon, Richard Tuttle, and Ursula von Rydingsvard—and on the subject of art in public space. She holds a Master of Arts degree with a concentration in 20th century art from the Graduate Program in the History of Art at Williams College, and a BA in English from Georgetown University.

Details

Date:
April 26, 2022
Time:
10:00 am
Event Category:
Event Tags:
,

Organizer

ArtTable Washington, D.C.
Email
programs@arttable.org

National Gallery of Art, West Building

6th St and Constitution Ave NW
Washington, DC, District of Columbia 20565 United States
+ Google Map

Virtual | Global Perspectives – Adenrele Sonariwo on Contemporary African Art

9am PT/10am MT/11am CT/12pm ET

Please join us for a presentation from Adenrele Sonariwo, founder of Rele Gallery. With two locations in Lagos, Nigeria and Los Angeles, California, the gallery was founded to act as a critical interface between the African and international art worlds, situating contemporary art and artists from Africa in broader, international contexts.

Sonariwo will speak about the contemporary art scene in Nigeria, being a woman in this business, and her gallery’s emphasis on emerging women artists.

Adenrele Sonariwo is an award-winning gallerist, curator, and founder of Rele Gallery and Rele Art Foundation. She has curated and overseen high-profile art exhibitions in Lagos, Los Angeles, New York, and Venice, challenging the boundaries of art and engaging in provocative subjects and techniques. Sonariwo curated the first ever Nigerian Pavilion at the 2017 Venice Biennale.

Admission:

  • ArtTable Circle Members – Free
  • All Other ArtTable Members – $10
  • Non-Members – $20

Not a member? Join today!

 

Can’t make the program at this time? Register anyway to receive a recording after!

Please note that this program will offer automatic closed captioning services. If you require additional accommodations, please email programs@arttable.org.

ArtTable is a 501.c.3 organization. All programs are non-refundable.


Images: Artworks by Rele Gallery Artists, Marcellina Akpojotor and Tonia Nneji

Thank you to Michelle Perr of the New York Chapter Programs Committee for organizing this program.

Virtual | Marcela Guerrero & Daisy Nam on Donna Huanca’s exhibition at Ballroom Marfa

9am PT / 10am MT / 11am CT / 12pm ET

Please join Marcela Guerrero, Jennifer Rubio Associate Curator at the Whitney Museum of American Art, and Daisy Nam, Curator at Ballroom Marfa, for a discussion on Donna Huanca’s exhibition ESPEJO QUEMADA, on view at Ballroom Marfa through January 22, 2022. The two will also discuss Guerrero’s work on influential recent exhibitions of contemporary art from Latin America, including the exhibitions Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art at the Whitney Museum of American Art and Radical Women: Latin American Art, 1960-1985 at the Hammer Museum.

Donna Huanca presents a series of new works commissioned by Ballroom Marfa in her exhibition ESPEJO QUEMADA. Huanca creates experiential installations that incorporate paintings, sculptures, video, scent and sound. The profound experiences and memories of Huanca’s first visit to Marfa in 2005 inspired the work in the exhibition. The artworks draw on visual, cultural, and mythological cues informed by feminism, decolonialism and the artist’s personal and familial histories, while simultaneously engaging with the biodiversity, geology, and dark skies of Far West Texas. The sky was particularly striking for Huanca–animated with cosmic and extraterrestrial forces while also revealing the natural rhythms of the sun and moon.

ESPEJO QUEMADA, Huanca’s first exhibition since the pandemic, uses mirrors as formal and metaphorical devices to respond to changing conditions. The title, which translates to “burnt mirror” in English and is purposefully feminized in Spanish, alludes to Huanca’s feminist praxis. “Espejo Quemada” suggests reflections of the current moment, portals to the past and future, and catalysts for combustion and change. Click here to read more about the exhibition!

Admission

  • ArtTable Circle Members– Free
  • All other ArtTable Members – $10
  • Non-Members – $15
  • Members may bring a guest for an additional $5.

Not an ArtTable member? Join today!

 

 

Accessibility: Please note that live closed captioning will be available for this program. Please email programs@arttable.org if you require additional accommodations.


About the Speakers

Headshot of Marcela GuerreroMarcela Guerrero is the Jennifer Rubio Associate Curator at the Whitney Museum of American Art, New York. Recently, she was part of the curatorial team that organized Vida Americana: Mexican Muralists Remake American Art, 1925-1945. In summer 2018, Guerrero curated the exhibition Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art. From 2014 to 2017 she worked as Curatorial Fellow at the Hammer Museum in Los Angeles, where she was involved in the much-lauded exhibition Radical Women: Latin American Art, 1960-1985, organized as part of the Getty Foundation’s Pacific Standard Time: LA/LA initiative and guest-curated by Cecilia Fajardo-Hill and Andrea Giunta. Prior to her position at the Hammer, she worked in the Latin American and Latino Art Curatorial department at the Museum of Fine Arts, Houston (MFAH) where she served as Research Coordinator for the International Center for the Arts of the Americas (ICAA). Guerrero’s writing has appeared in a variety of publications and has contributed articles to numerous exhibition catalogues. Born and raised in Puerto Rico, Guerrero received her BA from the University of Puerto Rico, Rio Piedras Campus, and holds a Ph.D. in Art History from the University of Wisconsin-Madison.

Daisy Nam seated on the top step of a ladder, outsideDaisy Nam is the curator at Ballroom Marfa, a contemporary art space located at the borderlands of Far West Texas. She recently co-edited a publication, Best! Letters from Asian Americans in the arts with Paper Monument. Previously from 2015–19, she was the assistant director at the Carpenter Center for the Visual Arts, Harvard University where she organized exhibitions, publications, and public programs working closely with artists to engage with the campus community and public at large. Prior, she curated and produced seven seasons of talks, screenings, performances, and workshops from 2008–2015 as the assistant director of public programs at the School of the Arts, Columbia University. Curatorial residencies and fellowships include: Marcia Tucker Senior Research Fellow at the New Museum, New York (2020); Bellas Artes, Bataan, Philippines (2020); Surf Point in York, Maine (2019); Gwangju Biennale Foundation, Korea (2018). She holds a master’s degree in Curatorial and Critical Studies from Columbia University and a bachelor’s degree in Art History and Cinema Studies from New York University. She has taught at RISD, and lectured at Lesley University, Northeastern, SMFA/Tufts, SVA as a visiting critic.

 

About Ballroom Marfa

Ballroom Marfa is an internationally recognized non-collecting contemporary art museum located in Marfa, a rural town of less than 2,000 people in Far West Texas. Established in 2003 by Virginia Lebermann and Fairfax Dorn, the contemporary art and performance space is housed in a 1920s-era ballroom and is free and open to the public. With generous support from individuals and foundations, Ballroom commissions new site-specific and site-inspired projects and gives artists and musicians the opportunity to engage with the magnificent landscape of the Big Bend. Read more about Ballroom Marfa here.

This program is presented in collaboration with Ballroom Marfa.
Public programs for ESPEJO QUEMADA are generously supported by Humanities Texas.

Ballroom Marfa logo               Humanities Texas logo


Images:

  1. Installation view, SCRYING CON DIOS(A), 2021, in Donna Huanca: Espejo Quemada, June 26, 2021–January 2, 2022, Ballroom Marfa. Courtesy the artist and Ballroom Marfa. Photograph by Makenzie Goodman.
  2. Marcela Guerrero, Photo by Javier Romero
  3. Daisy Nam

Virtual | Exhibition Tour – ‘Taking Space: Contemporary Women Artists & the Politics of Scale’

4:30pm ET | 3:30pm CT | 1:30pm PT

Taking Space: Contemporary Women Artists and the Politics of Scale, on view at the Pennsylvania Academy of the Fine Arts, examines the approaches of women artists for whom space is a critical feature of their work, whether they take the space on a wall, the real estate of a room through sculpture and installation, engage seriality as a spatial visual practice, cast a wide legacy in art history or claim the space of their body. Curated by Jodi Throckmorton and Brittany Webb, this exhibition features more than sixty works of art from the Pennsylvania Academy of the Fine Arts’ permanent collection. In this virtual exhibition tour, Dr. Brittany Webb will discuss the exhibition and the importance of women’s leadership in producing this exhibition.

This program is open to ArtTable members only.

Admission

  • ArtTable Members – $5
  • ArtTable Circle Members – Free
  • Members may bring an additional guest for $5

How to take part:

  1. Click here to Register for this program.
  2. Following registration you will receive call-in information in the form of a ZOOM link.
  3. Before joining a Zoom meeting on a computer or mobile device, you can download the Zoom app from the Download Center and select the “Zoom Client for Meetings” option. Alternatively, you will be prompted to download and install Zoom when you click a join link.
  4. For further instruction on how to use Zoom, see here.

Not a member? Join today!

Can’t make the program at this time? Register anyway to receive a recording after!

Accessibility: Please note that this program will offer live closed captioning. If you require additional accommodations, please email programs@arttable.org.


About Brittany Webb

Taking Space Installation ViewBrittany Webb is the inaugural Evelyn and Will Kaplan Curator of Twentieth-Century Art and the John Rhoden Collection. In this role, Webb oversees the Museum’s collections, exhibitions, and programs of 20th century art and provides instruction for the School of Fine Arts at PAFA. Webb’s first exhibition at PAFA, Taking Space: Contemporary Women Artists and the Politics of Scale (November 2020-September 5, 2021) is co-curated with Jodi Throckmorton, Curator of Contemporary Art at PAFA. Webb is also organizing a major retrospective exhibition and catalogue of the work of the African American sculptor John Rhoden (1916-2001) and stewards a collection of nearly 300 sculptures by Rhoden, leading PAFA’s ongoing effort to place his artworks into the permanent collections of museums around the world.

Prior to joining PAFA, Webb was a member of the curatorial staff of the African American Museum in Philadelphia. Dr. Webb holds a Ph.D. in Anthropology from Temple University and a B.A. in Political Science from the University of Southern California.

Thank you to ArtTable Philadelphia Chapter Co-Chairs Laurie McGahey and Rachel Zimmerman for organizing this program, and Dr. Brittany Webb and Christiana Cruz-Council from PAFA.


Images:

  1. Deborah Willis, I Made Space For a Good Man, 2009, Lithograph, gift from the collection of Winston and Carolyn Lowe in honor of Brandywine founder, Allan L. EdmundsDeborah Willis/Courtesy of the Pennsylvania Academy of the Fine Arts, Philadelphia, 2019.18.35
  2. Taking Space: Contemporary Women Artists and the Politics of Scale. Pennsylvania Academy of the Fine Arts, January 21, 2021–September 5, 2021. Photo by Adrian Cubillas, courtesy of the Pennsylvania Academy of the Fine Arts, Philadelphia.
error: This content is protected.