Curatorial Perspective – Page 3

VIRTUAL | Curatorial Perspective: For a Dreamer of Houses

Image: Misty Keasler, Green Room (Quarenteen) Leagnul di Copii, Tigru Mures, Romania, 2004. Courtesy Misty Keasler and The Public Trust Gallery.

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Join ArtTable for a presentation and virtual walk through of For a Dreamer of Houses, an imaginative and immersive exhibition at the Dallas Museum of Art, with Dr. Anna Katherine Brodbeck, the Hoffman Family Senior Curator of Contemporary Art at the Dallas Museum of Art, as part of ArtTable’s virtual curatorial perspective series. For a Dreamer of Houses explores the significance of the spaces we inhabit and how they represent ourselves, our values, and our desires- a curatorial theme that feels all too relevant as so many of us remain at home.

About Dr. Anna Katherine Brodbeck

Dr. Anna Katherine Brodbeck is the Hoffman Family Senior Curator of Contemporary Art at the Dallas Museum of Art. She joined the DMA in January 2017 as the Nancy and Tim Hanley Assistant Curator of Contemporary Art, as was promoted to Associate Curator in May 2018. Brodbeck has extensive knowledge of modern and contemporary art, with a focus on Latin American art, as well as a background in Islamic art. As the Hoffman Family Senior Curator, Brodbeck oversees exhibitions, programming, publications, and acquisitions related to the Museum’s leading collection of contemporary art. In collaboration with Dr. Agustín Arteaga, The Eugene McDermott Director, and other colleagues throughout the Museum, Brodbeck works to expand the scope of the department to reflect the DMA’s commitment to presenting an inclusive, globally-minded vision of the art historical canon.

Since joining the DMA in 2017, Brodbeck has curated several exhibitions across the breadth of contemporary art, including Jonas Wood (2019), the first major museum survey of works by the beloved Los Angeles-based painter. She also curated America Will Be!: Surveying the Contemporary Landscape (2019), a focused exhibition of works primarily from the DMA’s collection of contemporary art—including 15 new acquisitions she oversaw for the DMA—that take the American landscape as a point of departure.

Brodbeck also served as installation curator for the Dallas presentations of Günther Förg: A Fragile Beauty (2018), the most comprehensive survey of Förg’s work to date, and Laura Owens (2018), the critically acclaimed mid-career survey of the American artist. She also curated the immensely popular presentation of Yayoi Kusama: All the Eternal Love I Have for the Pumpkins (2017) and co-curated Truth: 24 frames per second, the DMA’s first exhibition dedicated to time-based media. Additionally, she has organized the DMA’s exhibition series Concentrations, which spotlights emerging international artists.

Prior to arriving at the DMA, Brodbeck worked in curatorial departments at the Carnegie Museum of Art, the Frick Collection, and the Museum of Modern Art, New York. She co-curated the first comprehensive US retrospective of the influential Brazilian artist Hélio Oiticica in Hélio Oiticica: To Organize Delirium (2016), co-organized by the Carnegie Museum of Art, the Art Institute of Chicago, and the Whitney Museum of American Art. She also delivered extensive exhibition research for Picasso’s Drawings, 1890–1921: Reinventing Tradition (The Frick Collection, 2011) and Richard Serra Sculpture: Forty Years (The Museum of Modern Art, 2007).

Brodbeck has been supported by a number of fellowships, and she has delivered scholarly papers and contributed to numerous publications in her field. She has also served as an adjunct instructor of art history at New York University and Hunter College, and is a member of the College Art Association and Latin American Studies Association.

Dr. Brodbeck earned her master’s and doctorate degrees in art history from the Institute of Fine Arts, New York University. She is a magna cum laude graduate of New York University and a member of Phi Beta Kappa.

Thank you to Sarah McNaughton, NY Programs Committee, for organizing this event.

NY | Curatorial Perspective: Zilia Sánchez: Soy Isla (I Am an Island)

Image: Zilia Sánchez, Topología erotica [Erotic Topology], 1960–71. Acrylic on stretched canvas, 41 × 56 × 13 in. Collection [Colección] Jose R. Landron, San Juan

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Join ArtTable NY for a curatorial walkthrough of Zilia Sánchez: Soy Isla (I Am an Island) with Susanna Temkin, Curator at El Museo del Barrio.

Zilia Sánchez: Soy Isla (I Am an Island)is the first museum retrospective of the prolific, innovative, and yet largely unknown artist Zilia Sánchez (b. 1926, Havana – lives and works in San Juan). The exhibition features over 40 works from the early 1950s to the present, including paintings, works on paper, shaped canvases, sculptural pieces, graphic illustrations, and ephemera. The retrospective traces Sánchez’s artistic journey from her early days in Cuba to her extended travels in Europe in the 1950s and residence in New York in the 1960s, and finally her move to Puerto Rico, where she has lived and worked since the early 1970s. For more information, see here.

Susanna Temkin is a Curator at El Museo del Barrio since 2018, and recently organized the museum’s fiftieth-anniversary exhibition, Culture and the People: El Museo del Barrio, 1969-2019. Prior to El Museo, she served as Assistant Curator at Americas Society in New York. From 2011-2016 she was the Research and Archive Specialist at the Cecilia de Torres, Ltd., where she assisted in co-authoring the digital catalogue raisonné of artist Joaquín Torres-García. Temkin has published essays and reviews in the Rutgers Art Review, Burlington Magazine, and Hemispheres, and authored the chronology of Concrete Cuba: Cuba Geometric Abstraction from the 1950s, produced by David Zwirner Books. She earned her master’s and PhD degrees from the Institute of Fine Arts, New York University, where her research concentrated on modern art in the Americas, with a focus on Cuba.

Who’s attending this event? Click here to see who’s registered!

Thank you to Ingrid Dinter, Julia Herzberg and Susanna Temkin.

POSTPONED: DC | Curator’s Talk and Preview of Moira Dryer

Image: The Power of Suggestion, Moira Dryer, 1991

This event has been postponed! Check back soon for a new date.

Greater Reston Arts Center (GRACE) will present a selection of works by artist Moira Dryer (b. 1957, Toronto, Ontario; d. 1992, New York, New York) in conjunction with the major exhibition of Dryer’s early work at the Phillips Collection in Washington, DC, entitled Moira Dryer: Back in Business. Both exhibitions are curated by GRACE Executive Director and Curator Lily Siegel.

Dryer is primarily known for her large abstract paintings on wood panels. This exhibition will provide an intimate look at the artist’s practice through works given as gifts to friends and family, many never previously shown publicly. Her work has been exhibited extensively across the United States in institutions such as Boston’s Institute for Contemporary Art; Whitney Museum of Modern Art; and The Museum of Modern Art, New York. Dryer’s work is included in the permanent collections of The Solomon R. Guggenheim Museum, New York; Museum of Contemporary Art, Los Angeles; and Museum of Modern Art, New York. This exhibition is generously supported in part by Robert and Theresa Goudie and ARTSFAIRFAX.

3:30 pm – Private champagne toast with ArtTable

4 – 6 pm – Curator’s talk & Opening Reception

Who’s attending this program? Click here to see who’s currently registered!

Thank you to Elizabeth Denholm, Advancement Officer, Greater Reston Arts Center.

NY | Curatorial Perspective: Making Knowing: Craft in Art, 1950–2019 with Jennie Goldstein

Image: Liza Lou, Kitchen, 1991-96. Beads, plaster, wood and found objects, 96 × 132 × 168 in. (243.8 × 335.3 × 426.7 cm). Whitney Museum of American Art, New York; gift of Peter Norton 2008.339a-x. © Liza Lou. Photograph by Tom Powel, courtesy the artist

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Join ArtTable NY for an early morning curatorial walkthrough of Making Knowing: Craft in Art, 1950–2019 with Jennie Goldstein, assistant curator, Whitney Museum, and co-curator of this exhibition.

Making Knowing: Craft in Art, 1950–2019 foregrounds how visual artists have explored the materials, methods, and strategies of craft over the past seven decades. Some expand techniques with long histories, such as weaving, sewing, or pottery, while others experiment with textiles, thread, clay, beads, and glass, among other mediums. The traces of the artists’ hands-on engagement with their materials invite viewers to imagine how it might feel to make each work. For more information see here.

Jennie Goldstein is an Assistant Curator at the Whitney Museum of American Art. Most recently she co-curated Making Knowing: Craft in Art, 1950–2019, which is on view until early 2021. Other exhibitions include Christine Sun Kim: Too Much Future (2018) and An Incomplete History of Protest: Selections from the Whitney Museum, 1940 – 2017 (2017-2018).

Please meet in the Whitney’s Lobby at 8:50 AM.

Thank you to ArtTable member, Jennie Goldstein.

NY | Curatorial Perspective: Memory Palaces: Inside the Collection of Audrey B. Heckler

Image: Aloïse Corbaz (1886, Lausanne, Switzerland–1964, Gimel, Switzerland) Untitled (“l’Amérique Stubborn Président”) 1953 Colored pencil, graphite, and sewn paper cutouts on paper 47 x 30 in. Collection of Audrey B. Heckler. © L’association Aloïse Photography © Visko Hatfield, courtesy of the Foundacion to Promote Self Taught Art and Rizzoli International Publications, Inc.

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Join ArtTable and Valérie Rousseau, PhD, Senior Curator & Curator of Self-Taught Art and Art Brut at The American Folk Art Museum, for a curatorial walk- through of Memory Palaces: Inside the Collection of Audrey B. Heckler.

The collection of Audrey B. Heckler is emblematic of the growth of the field of self-taught art in the United States, which manifests a strong interest for African American artists, a consistent attention on American classics, a curiosity for European art brut, and a search for international discoveries. For the last twenty-seven years, Heckler—a long time and committed patron of the American Folk Art Museum—has surrounded herself with excellent examples by the most significant artists associated to this art niche, among them Emery Blagdon, Aloïse Corbaz, William Edmondson, August Klett, Augustin Lesage, Martín Ramírez, Thornton Dial, and Anna Zemánková. For more information see here.

Thank you to Valérie Rousseau and Elisabeth Rochau- Shalem, NY Programs Committee Chair, for organizing this program.

SOCAL | Curatorial Perspective: Manet and Modern Beauty at the Getty

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Image: Édouard Manet (French, 1832 – 1883) Jeanne (Spring), 1881, The J. Paul Getty Museum, Los Angeles.

Join ArtTable SoCal for a curatorial walk-through of Manet and Modern Beauty with Emily Beeny, Associate Curator of Prints and Drawings, Getty Museum.

The first-ever exhibition devoted to the later years of Impressionist painter, provocateur, and dandy Édouard Manet’s career, Manet and Modern Beauty features about fifty paintings, pastels and works on paper, a third of which are on loan from private collections.

Co-curator and Getty Associate Curator of Drawings, Emily Beeny will lead us on an insider tour of Manet’s social world as depicted in his lively cafe and outdoor scenes, fashionable portraits, and striking still lives: “Fresh, intimate, and unapologetically pretty, Manet’s late works demonstrate his fierce embrace of beauty and pleasure in the teeth of acute physical suffering.”

We will meet at 1:45 at the entrance to the Getty Museum’s temporary exhibition pavilion.

Thank you to Susan Power, ArtTable SoCal Co-Cahir, and Emily Beeny, Associate Curator of Prints and Drawings, Getty Museum.

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