NoCal | The New Art Collection: NFTs and Digital Art, presented in partnership with Art Market San Francisco

April 23 @ 1:00 pm

A hand holding a ball of letters that says NFT

Join ArtTable and Art Market San Francisco for a discussion on NFTs and digital art collecting!

As the art world continues to develop amidst the ever-evolving world of digital art, NFTs, and cryptocurrencies, so too must the established habits of art collectors. The past several years have seen significant developments in the digital realm, both when it comes to digital art itself as well as purchasing art on digital platforms. NFTs have quickly become a mainstay in art world news, with new information and initiatives being announced on a regular basis. Artists are more frequently using digital art to address gender and minority imbalances in the art world; art fairs are launching digital viewing sites and permitting non-physical galleries to show at the fair; and NFT platforms are going green. Where years ago purchasing a work of art online might have been unheard of, now it is a common occurrence. Art, and how we access it, is ever-changing, and we are all just trying to keep up.

In this discussion, we will hear from art advisor Claudia Worthington-Hess, Christina Steinbrecher, co-founder of Blockchain.art, a digital platform for artists and collectors, and Kelani Nichole, founder of TRANSFER, a gallery that explores the friction between virtual studio practice and its physical instantiation.

Click here to read more about the program and the speakers.

This program is free with fair admission and open to all. For more information about the fair and to purchase tickets, click here.

This program is presented in partnership with Art Market San Francisco. Complimentary tickets are available for ArtTable members via the membership portal.

Image: TBD

Organizer

ArtTable National
Email:
programs@arttable.org

Fort Mason Center – Festival Pavilion

2 Marina Blvd.
San Francisco, California 94123 United States
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Virtual | Panel Discussion – ‘Before Silence: Afghan Artists in Exile’

March 24 @ 5:00 pm

2pm PT / 3pm MT / 4pm CT / 5pm ET

Before Silence: Afghan Artists in Exile is an online exhibition presented by Art at a Time Like This, in partnership with PEN America’s Artists At Risk Connection(ARC).

Since the U.S. withdrawal from Afghanistan last August and the subsequent takeover by the Taliban, which has a long and brutal history of censoring artistic expression, many Afghan artists, including writers, musicians, filmmakers, and intellectuals, have been persecuted and targeted simply for being artists. Fearing for their lives, many artists have been forced to go into hiding, self-censor or destroy  their creative work, or flee the country, putting the future of the arts and culture in the country into question. 

Before Silence presents a powerful selection of works representative of the up and coming generation of Afghan artists who have continued to create and inspire amidst insecurity and humanitarian suffering. Through photographs, paintings, cartoons, murals, and performances, this powerful exhibition offers a complex dialogue between artists, danger, deprivation, and insecurity. The artists featured in the exhibition are Ali Rahimi, ArtLords, Latifa Zafar Attaii, Lida Afghan, Mohsin Taasha, Morteza Herati, Naseer Turkmani, Rada Akbar, and Shamayel Shalizi. It was a monumental task to pull together this exhibition with the artists scattered throughout the world after fleeing Afghanistan in recent months. This exhibition would not have been possible without unique collaboration between an arts organization and a leading human rights advocacy group.

To mark the occasion of this exceptional exhibition, please join us for a panel discussion with Art at a Time Like This co-founders Anne Verhallen and Barbara Pollack, conceptual artist Rada Akbar, and director of PEN America’s Artists at Risk Connection, Julie Trebault.

Admission

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

Headshot of Rada AkbarRada Akbar, born and raised in Afghanistan, is an activist and artist who uses her art to speak out against misogyny and oppression. Her work consists of a mixture of wearable monuments, performance, photography and installation pieces. It has been displayed in numerous national and international exhibitions. In 2015, she received an honorable mention in the UNICEF Photo of the Year Award. In 2020, her art exhibit called Abarzanan—Superwomen—which celebrates pioneering Afghan women, was featured in the New York Times, and in 2021 she received the Prince Claus Seed Award, MujerHoy awards and BBC 100 Women.

 

Barbara Pollack headshotBarbara Pollack is the co-founder of Art at a Time Like This Inc., a platform for free expression for artists at times of crises. An independent curator and writer, Pollack will be lead curator for the exhibition, Mirror Image: A Transformation of Chinese Identity, opening at the Asia Society Museum in June. In 2021, she organized Lu Yang: DOKU—Digital Alaya at Jane Lombard Gallery. Since 1994,  Pollack has written extensively for  a broad range of arts publications and catalogues and monographs and is also a professor at the School of Visual Arts. 

 

Headshot of Julie TrebaultJulie Trébault is the director of the Artists at Risk Connection (ARC), a project of PEN America. ARC safeguards the right to artistic freedom by connecting threatened artists to support, building a global network of resources for artists at risk, and forging ties between arts and human rights organizations. She has nearly two decades of experience in international arts programming and network-building, including at the Museum of the City of New York, the Center for Architecture, the National Museum of Ethnology in The Netherlands, and the Musée du quai Branly in Paris. Trébault holds a Master’s Degree in Arts Management from Sorbonne University, a Master’s Degree in Archeology and Cultural Heritage from the University of Strasbourg, and taught at Fordham University. She is co-author of Freedom of Artistic Expression Through the Lens of the Sustainable Development Goals (Springer, 2021) and A Safety Guide for Artists (ARC, 2021), and has been instrumental in the creation of numerous reports on the state of artistic freedom of expression. These include but are not limited to Arresting Art: Repression, Censorship, and Artistic Freedom in Asia and Art under Pressure: Decree 349 Restricts Creative Freedom in Cuba. Julie and ARC have also been featured in numerous media outlets such as Hyperallergic, The Art Newspaper, Artnet, BBC News, The Financial Times, Al Jazeera, Diario de Cuba, NPR, among others.

Headshot of Anne VerhallenAnne Verhallen is the co-founder of Art At A Time Like This, launched in 2020 in response to the global health crisis. The non-profit arts organization supports artists working in response to crisis and current events by presenting their work online and in the public space.

Verhallen is also an agent for visual artists and is currently the director of partnership at 291 Agency. She has worked on projects for many leading artists, including Kehinde Wiley, Robert Wilson, Friedrich Kunath, DRIFT, and Lily Kwong.  In this capacity, Verhallen has overseen large-scale activations and installations in collaboration with brands in the luxury industry. Prior to 291 Agency, Verhallen was the director of the fine art division at CXA for 4 consecutive years. 

Born in the Netherlands, Verhallen brings a global perspective to her projects and seeks to cultivate the intersection between technology, design, art, and health.

 


Images: Photograph by Morteza Herati, courtesy of the artist; all headshots provided by the speakers.

Thank you to Art at a Time Like This for organizing this program.

Details

Date:
March 24
Time:
5:00 pm
Event Category:
Event Tags:

Organizer

ArtTable National
Email:
programs@arttable.org

Link.

Virtual | Alternative Art Spaces in Southern California, presented with Intersect Palm Springs

1:30pm PT/2:30pm MT/3:30pm CT/4:30pm EST

Please join us for a discussion about the development of alternative art spaces, specifically throughout the Southern California region. In this virtual discussion, we will hear from several professionals who have either founded or currently run alternative art spaces in the Southern California region, and will address questions like, what makes an art space “alternative?” How are these spaces addressing the underserved needs within the local art world? Our panelists will speak to how their respective organizations are implementing alternative methods in order to reach their goals and further their missions.

Panelists:

  • Jordan Karney Chaim, Art historian, writer, and independent curator
  • Kristine Schomaker, Director, Shoebox Projects
  • Joy Silverman, Former Executive Director, LACE; Board Member, Feminist Center for Creative Work

The discussion will be moderated by Liza Shapiro, Director & Co-founder of CURA.

This program is free and open to all. Please register via the below button to receive the Zoom information.

Register Here button

 

Accessibility: Please note that this program will include live closed captioning services. Please email programs@arttable.org to request any additional accommodations. 

This program is presented in partnership with Intersect Palm Springs. Complimentary VIP tickets are available for ArtTable members via the membership portal.

Intersect Palm Springs logo

Virtual | Listening to Native American Voices: Reimagining & Honoring a Diverse Heritage

3pm PT/ 4pm MT / 5pm CT / 6pm ET

In this 4th and final program in ArtTable’s Monuments and Memorials series, we shift our attention to those memorials that bear witness to Native American heritage, through their own voices. By exploring Native American memorials and sites, we will learn how they honor and preserve cultural memory in the United States. This series continues to ask: whose stories are we telling and who is telling them?

Join us for a discussion with artists Malynn Foster (Coast Salish of Squaxin Island) and Erin Genia (Sisseton-Wahpeton Oyate), as well as attorney Shannon O’Loughlin (Citizen of the Choctaw Nation of Oklahoma). Foster and Genia will each speak about their artistic practice, as well as reimagine, re-contextualize, or otherwise address the general conversation around public monuments and memorials. O’Loughlin will bring our focus to some sites of memory that are sacred to Native Americans, sharing the need to protect and preserve them. The presentations and discussion will be followed by a Q&A session.

In the previous three programs in this series, we looked at “old stories and new narratives through other lenses” with Harriet Senie, Alison Saar and Marisa Williamson, with a special focus on creating sites of public memory, particularly for the disenfranchised, as so eloquently expressed by Judy Baca and her “Great Wall of Los Angeles.” The series included a fall walking tour in Harlem to view the sculptures honoring Duke Ellington, Harriet Tubman, and Frederick Douglass.

Admission

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

Not an ArtTable 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.


About the speakers

Erin Genia headshotErin Genia (Sisseton-Wahpeton Oyate) is a multidisciplinary artist, educator, and community organizer specializing in Native American and Indigenous arts and culture. Her work in these areas focuses on amplifying the under-recognized presence of native peoples in the arts, sciences, and the public arena. Erin earned an M.S. in Art, Culture, and Technology from MIT and an M.P.A. in Tribal Governance from Evergreen State College. She also studied at the Institute of American Indian Arts. In recent years, her artwork has been exhibited nationally and internationally including at Boston’s Urbano Project, the Venice Biennale, Ars Electronica, The Museum of Northwest Art, and the International Space Station. Public commissions have come from the Tufts University Art Galleries, the Minnesota Historical Society, the City of St. Paul, and the City of Seattle. Also in the public realm, Erin was named artist-in-residence with the City of Boston (2020-2021) and co-founded, “Centering Justice: Indigenous Artists’ Perspectives on Public Art,” with the New England Foundation for the Arts’ Public Art Team.

Shannon O’Loughlin headshotShannon O’Loughlin is a citizen of the Choctaw Nation of Oklahoma, and the Chief Executive and Attorney for the oldest non-profit serving Indian Country – the Association on American Indian Affairs. Throughout its 99-year history, the Association has provided national advocacy on watershed issues that support sovereignty and culture, while working at a grassroots level with Tribes. The Association’s vision is to create a world where diverse Native American cultures and values are lived, protected and respected.

Chaco Canyon

Shannon has been practicing law for more than 20 years and is a lecturer at Johns Hopkins University. In 2013, she was appointed by Secretary of the Department of the Interior to the Native American Graves Protection and Repatriation Act Review Committee. In 2015 she was appointed by President Barack Obama as the first Native American to the Cultural Property Advisory Committee within the State Department. Shannon received a B.A. in American Indian Studies from California State University, Long Beach. She then received joint M.A. and J.D. degrees from the University of Arizona in Indigenous Peoples Law and Policy.

Malynn Foster stands next to a totem poleMalynn Wilbur-Foster is a Squaxin Island tribal member, raised among her people near the Skokomish and Squaxin Island reservations where she has lived most of her life. She works in a variety of media , including weaving, painting, jewelry, and carving both stone and wood. Malynn is always looking for new ways to tell the stories of her people fusing tradition and technology.

Since 1998, her work has been shown in galleries and featured in

A woven basket

books. It has also entered collections of the Seattle Art Museum, Burke Museum, and Washington State History Museum. Additionally she has collaborated on a number of commissioned works in the Seattle area, with family members and friends. 2020 brought a significant new commission: Malynn is now collaborating with Tamela LaClair and Kimberly Deriana, as a team, known as the MTK Matriarchs.

They have been selected as the artists for the Salish Steps, part of the Seattle project re-imagining the city’s waterfront. Representing both local tribes and Urban Natives, they are working with the design team, developing a permanent artwork to elevate the importance of indigenous culture and history to this very public site. Malynn has received grants for her achievements in both art and for being an indigenous knowledge keeper.

 

Thank you to ArtTable members Cathie Behrend, former Deputy Director of New York’s Percent for Art Program and founder of VenturesinVision, and Lori Shepard, Independent art advisor, for organizing this program series.


Images:

  1. Erin Genia, “Acoustic Tipi.” Courtesy of the artist.
  2. Erin Genia, courtesy of the artist
  3. Shannon O’Loughlin, courtesy of the speaker
  4. Pueblo Bonito, Chaco Canyon, Courtesy of the National Park Service
  5. Malynn Wilbur-Foster, courtesy of Sam Jones of Quinn/Brein Communication
  6. “Seal Roost,” woven by Malynn Foster

Virtual | Self-Mythology and the Unreliable Narrator in the Life & Times of Sam Francis

11am PT/ 12pm MT / 1pm CT / 2pm ET

Please join Gabrielle Selz, Jeremy Stone, and Debra Burchett-Lere as they probe the self-mythologizing narratives of artists and personalities of the 20th Century. This talk will focus on discoveries Selz made in her new book, Light on Fire, the first comprehensive biography of Sam Francis.

Light on Fire traces the extraordinary and ultimately tragic journey of a complex and charismatic artist who first learned to paint while encased for three years in a full-body plaster cast. Francis portrayed himself as a pilot who heroically crashed his plane in the Arizona desert; a story Selz reveals is a fabrication that was repeated by all the male historians who wrote about his illustrious career. For indeed, Francis’s color-saturated paintings went on to fetch the highest prices of any living artist. His restless desire resulted in five marriages and homes on three continents. His entrepreneurial spirit led to the founding of MoCA, Lapis Press, a reforestation program, and several nonprofits. Light on Fire captures the art, life, personality, and talent of a man who sought to resolve in art, the contradictions he couldn’t resolve in life.

Admission

  • ArtTable Circle Members– Free
  • All other ArtTable Members – $5
  • Non-Members – $7

Not an ArtTable member? Join today!

 

 

Accessibility: Please email programs@arttable.org if you require specific accommodations. 


About the Speakers

Debra Burchett-Lere brings a range of professional international art-world experiences as an author, curator, and executive director of the artist-endowed Sam Francis Foundation, California. Her background includes key positions at the fine-art limited editions print studio Gemini G.E.L. and the Los Angeles Institute of Contemporary Art (LAICA). For over twenty-five years, Debra has collaborated on museum exhibitions including projects with the Museum of Contemporary Art (MOCA), Los Angeles; the Milwaukee Art Museum; Bechtler Museum of Modern Art, Charlotte, NC; the Jeu de Paume, Paris; Kunsthalle- der Bundesrepublik Deutschland, Bonn; Fundacio Caja de Madrid; and the Los Angeles County Museum of Art (LACMA).

In addition, Burchett-Lere has authored books and catalogues including publications by the Getty Museum Conservation Institute, Los Angeles and the University of California, Berkeley (UC Press). She has worked as a grant writer for university art programs, an art consultant, and accredited appraiser with the Appraisers Association of America, NYC. Her recent volunteer board services include positions for ArtTable, NYC and the Brand Associates of the Brand Library and Arts Center, Glendale, CA.

 

ArtTable member Gabrielle Selz is the award-winning author of Unstill Life: Art and Love in the Age of Abstraction (W.W. Norton 2014) and Light on Fire: The Art and Life of Sam Francis (UC Press, 2021), the first comprehensive biography of one of the most important American abstract artists of the 20th century. Her essays and art reviews have appeared in The New Yorker, The New York Times, The Los Angeles Times, Hyperallergic, Square Cylinder, Art & Object, Art Papers, The Rumpus, and The Huffington Post, among others. She makes her home in Oakland, CA. For more information, visit: https://gabrielleselz.com.

 

Jeremy Stone, also an ArtTable member, is a former gallerist, art advisor/appraiser, and collector who has advised many important private collectors, museums, and institutions. Her expert witness work over the past 25 years has included legal cases across the United States and the government of Canada. She has served on the board and held office on multiple levels with ArtTable, the American Society of Appraisers, and the San Francisco Art Dealers Association.

Jeremy specializes in Post-War, modern, and contemporary art. Her collection includes Hank Murta Adams, Robert Arneson, Elmer Bischoff, Squeak Carnwath, John Chamberlain, Willem de Kooning, Nancy Drosd, Sam Francis, Mike Henderson, Mildred Howard, David Huffman, Kazuko Inoue, Franz Kline, John Graham, Rick Hickam, David Huffman, Gaston Lachaise, Joanne Leonard, Robert Mapplethorpe, Grace Munakata, Edith Schloss, Richard Sheehan, Katherine Sherwood, Lorna Simpson, Louise M. Stanley, Pia Stern, Masami Teraoka, Wayne Thiebaud, Ai Wei Wei, and John Zurier, among many others.

 

Thank you to Gabrielle Selz, Jeremy Stone, and ArtTable’s Northern California Chapter Leaders for organizing this program.


Images:

  1. Light On Fire: The Art and Life of Sam Francis by Gabrielle Selz

Virtual | Annual Leadership Series – The Precarious Position of Women in Leadership

1pm PT / 2pm MT / 3pm CT / 4pm ET

Women-identifying leaders in the arts are stepping down or being fired in larger proportions to their male counterparts. The issue was further exacerbated in the year 2020 when women, either by choice or circumstance, continued to leave the workforce in greater numbers than men. However, as the world began to reopen, more and more women came into leadership positions at large-scale arts organizations and institutions. In 2020, CultureType listed 54 Arts Leaders Who Took on New Appointments in 2020, 43 of whom are women. This past year, of approximately 75 new appointments to various leadership positions in the art world, 62 of them have been women, as noted by CultureType and ARTnews.

Despite the growing visibility of women in the art world, issues still plague the industry, such as the ongoing gender pay gap (as of now, women continue to earn approximately 73 cents for every dollar that men earn; the number is even lower for women of color, ranging from 55 to 62 cents for Latina, Native American, and Black women.), disparities in gender representation depending on operating budget (the majority of museums with budgets less than $15 million are run by a female rather than a male director; the reverse is true for museums with budgets of over $15 million, where female representation decreases as budget size increases), and the glass cliff phenomenon (the idea of women being placed in leadership positions during periods of crisis or downturn, when the chance of failure is highest, but under the pretense of providing an exciting professional opportunity). 

For this year’s Annual Leadership Series, we want to acknowledge and celebrate the incredible strides that women have made as leaders in the art world, but we also want to look to the future and ask ourselves, what still needs to be done, and how can we ensure women always have a seat at the table?

Please join us for what is sure to be an enlightening and thought-provoking discussion with women-identifying leaders in the art world with various perspectives on the issues. We will address questions including:

  1. What do these phenomena mean for women in the workforce, and particularly in the art world, both women leaving the workforce in greater numbers and the incredible amount of women being promoted to leadership positions?
  2. How do we advocate for women leaders from racially, ethnically, and socio-economically diverse backgrounds and reach greater gender parity in leadership roles? 
  3. The glass cliff is the phenomenon of women in leadership roles, such as executives in the corporate world and female political election candidates, being likelier than men to achieve leadership roles during periods of crisis or downturn, when the chance of failure is highest. Is this a phenomenon that we may have recently witnessed, with all of the significant appointments of woman-identifying leaders in the art world? Or are we finally, truly on the path to equality? Do women continue to be more vulnerable to career displacement than men? 
  4. What lessons have we learned, and how can we ensure lasting change?

The panel will be moderated by Stephanie A. Stebich, Director of the Smithsonian American Art Museum in Washington, DC. Additional speakers include:

  • Min Jung Kim, Director, Saint Louis Museum of Art, St. Louis, MO
  • Dorothy Kosinski, Vradenburg Director and CEO of The Phillips Collection, Washington DC
  • Mia Locks, Independent Curator and Culture Worker, Los Angeles, CA
  • Danyelle Means, Executive Director, Center for Contemporary Arts, Santa Fe, NM
  • Brittany Webb, Evelyn and Will Kaplan Curator of 20th-Century Art & the John Rhoden Collection, Pennsylvania Academy of Fine Art, Philadelphia, PA

Please join us after the discussion for 10-15 minutes of virtual networking in Zoom Breakout Rooms. ArtTable programs are a time for members and non-members to connect with old friends and meet new people, both in-person and virtually. We hope you will stick around afterwards to discuss important themes from the conversation and talk about new ideas and insights.

Admission

  • ArtTable Members – $10 (ArtTable members may bring a guest for an additional $15)
  • Non-Members – $25

Not an ArtTable member? Join today!

Register Here button

 

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

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


About the Speakers

Headshot of Stephanie A. StebichStephanie A. Stebich (pronounced STEE-BISH) is responsible for the nation’s premier collection of American art and major exhibition, research, publication, education and digital-media programs at the museum and its Renwick Gallery. She was named director of the Smithsonian American Art Museum in January 2017. Stebich also serves as co-chair of the Smithsonian American Women’s History Initiative.

Before coming to Washington, D.C., Stebich had been executive director of the Tacoma Art Museum since 2005. Under her leadership, the museum underwent a major renovation that doubled its exhibition space; launched a capital campaign with a goal of $17 million and raised more than $37 million; and added endowed curator, educator and fellow positions. She oversaw the development and implementation of the museum’s strategic plan, as well as a 10-year collecting strategy. At Tacoma, Stebich championed the presentation of many groundbreaking exhibitions and secured major collection gifts, including the Haub Family Collection of Western American Art, and the Rebecca and Jack Benaroya Collection of American studio glass.

Stebich was assistant director of the Minneapolis Institute of Arts from 2001 to 2004 and assistant director at the Cleveland Museum of Art from 1995 to 2001. She was previously a trustee of the Association of Art Museum Directors and the American Alliance of Museums.

Stebich earned a bachelor’s degree in art history from Columbia University and a master’s degree with a concentration in modern art from the Institute of Fine Arts at New York University. She has a certificate in nonprofit management from Case Western Reserve University and is a graduate of the Getty Leadership Institute in Los Angeles. She was a fellow at the Guggenheim Museum and has studied at the University College London. She is fluent in German.

Headshot of Min Jung KimMin Jung Kim was named the Barbara B. Taylor Director of the Saint Louis Art Museum in 2021. She brings to St. Louis extensive experience in museum leadership roles. As the director and chief executive officer of the New Britain Museum of American Art, she enhanced the museum’s profile through exhibitions and collection development designed to expand the definition of American Art and reflect greater diversity while strengthening community engagement and collaborative partnerships. As deputy director of the Eli and Edythe Broad Art Museum at Michigan State University, she was in charge of implementing the completion of the Zaha Hadid-designed Broad MSU. As director of content alliances at the Solomon R. Guggenheim Museum, she managed collaborative projects among the Guggenheim; the State Hermitage Museum in St. Petersburg, Russia; and the Kunsthistorisches Museum in Vienna. Min Jung Kim was born and raised in Seoul, South Korea. She graduated from Wheaton College and holds a master’s degree in art history from the Courtauld Institute of Art at the University of London.

Headshot of Dorothy KosinskiDr. Dorothy Kosinski has been the Vradenburg Director & CEO of The Phillips Collection since April 2008. Previously, Dr. Kosinski was Senior Curator of Painting and Sculpture at the Dallas Museum of Art. She was also the museum’s Barbara Thomas Lemmon Curator of European Art. Over the course of 30 years in museum work, Kosinski has earned a reputation internationally as an accomplished curator and scholar of 19th and 20th century art. For over 12 years, Dr. Kosinski was based in Basel, Switzerland, where she was a curator, scholar, and university instructor, including curator and administrator of the Douglas Cooper Collection. In August 2013, Dr. Kosinski was appointed by President Barack Obama to the National Council on the Humanities. She currently serves on the Board of the Sherman Fairchild Foundation and The Morris and Gwendolyn Cafritz Foundation. Dr. Kosinski received a BA from Yale University and an MA and PhD from the Institute of Fine Arts at New York University.

Mia Locks headshot

Mia Locks is an independent curator and culture worker based in Los Angeles. She was previously a curator at The Museum of Contemporary Art (MOCA) in Los Angeles as well as MoMA PS1 and the Whitney Museum of American Art in New York. She was a 2018 fellow at the Center for Curatorial Leadership and currently co-leads Museums Moving Forward, a data-driven initiative focused on accountability in the museum field.

 

Headshot of Danyelle MeansDanyelle Means is the newly appointed Executive Director of the Center for Contemporary Arts (CCA) in Santa Fe, New Mexico. She will continue her successful philanthropic and non-profit leadership by advancing CCA’s mission to celebrate creativity across the arts, humanities, and sciences by generating transformative experiences designed to ignite minds and connect people. Means has served as the Director of Advancement at the Institute of American Indian Arts (IAIA) and the Executive Director of the IAIA Foundation. During her tenure at IAIA, like many in the philanthropic sector, Means and her staff shifted all efforts online during the pandemic, bringing IAIA one of the most successful fundraising years ever.

Headshot of Brittany Webb

Dr. Brittany Webb is the Evelyn and Will Kaplan Curator of Twentieth Century Art and the John Rhoden Collection at the Pennsylvania Academy of the Fine Arts (PAFA). She is currently working on a retrospective exhibition on 20th century African-American sculptor John Rhoden (1916-2001) that includes an initiative to gift more than 250 sculptures by Rhoden to museums around the country. Dr. Webb came to PAFA from the African American Museum in Philadelphia (AAMP). She holds a PhD in Anthropology from Temple University and a BA in Political Science from the University of Southern California (USC).

 


Images: 

  1. Stephanie A. Stebich, The Margaret and Terry Stent Director, Smithsonian American Art Museum; Photo credit: Smithsonian American Art Museum
  2. Min Jung Kim, Photo by Tim Parker
  3. Dorothy Kosinski, Photo by Daniel Schwartz
  4. Mia Locks © 2016 Scott Rudd; www.scottruddevents.com; scott.rudd@gmail.com
  5. Danyelle Means
  6. Brittany Webb

Virtual | Fluidity & Queerness in Art & the Art World

9am PT/ 11am CT/ 12pm ET / 6pm CET

Please join ArtTable for a special virtual discussion on Fluidity and Queerness in Art, in partnership with Speciwomen.

On the occasion of Speciwomen’s third issue launch, this panel will explore fluidity and queerness from various perspectives in the art world. We will hear from each panelist on what fluidity means to each of them, how identity has influenced their work and/or approach to their profession, and the “overtness” of queer art.

Panelists

  • Grey, Artist & Cultural Activist, Moderator
  • Philo Cohen, Founder & Editor-in-Chief at Speciwomen
  • Opashona Ghosh, Artist, featured in the Fluidity issue of Speciwomen
  • Anne-Sophie Guillet, Artist, featured in the Fluidity issue of Speciwomen
  • Alyssa Nitchun, Director of the Leslie-Lohman Museum of Art

Admission

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

Not an ArtTable member? Join today!

 

 

Accessibility: ArtTable is pleased to offer closed captioning for this program. Please email programs@arttable.org with additional accessibility requirements.

Additional Resources: We encourage all attendees to review these articles and resources in advance of the conversation – Gender fluidity: What it means and why support matters  Why the Art World is Focusing In on Gender Fluidity (2018)   ‘Museums Belong to Everyone’: Curator Clare Barlow on the Tate’s Groundbreaking Queer Art Show, and the Work Institutions Still Need to Do


About the Speakers

Grey wearing a denim outfitGrey (moderator) is a multimedia artist who identifies as AfroIndigenous, genderfluid, and queer. She’s currently known for making art pieces and installations in solidarity with the trans community as well as being the lead singer of the band God Save The Club Kids.

 

 

 

 

Philo Cohen seated against a black background wearing a red T-shirtPhilo Cohen is the founder and Editor-in-Chief at Speciwomen, an online archive and independent publishing initiative aiming to change the representation of womxn and femmes in the arts. Cohen lives and works in Brooklyn, NY. She graduated from Sarah Lawrence College in 2020 with a BA in Visual Studies and Comparative Literature.

 

Headshot of Opashona Gosh against a dark yellow backgroundOpashona Ghosh (b. Kolkata 1987) is an artist and facilitator, based in London. Graduate of Central Saint Martins (University of the Arts, London). Their work explores feminist approaches to mental & sexual health, and club culture, locating the intersections of body, community & ritual. They curate FEMME NEW WORLD, an intersectional panel exploring migrating femme landscapes. Currently, they are co-publishing HONEY with Bahraini-British writer and editor Nadia Jones, a zine meditating on the experience of friendship. (Instagram)

 

 

Photo of a person's forearm with a tattoo that reads "Gender Rules Are Dead"Anne-Sophie Guillet was born in Oxford, UK. She’s a French photographer based in Brussels, Belgium. She graduated from the Royal Academy of Fine Arts in Brussels with an MFA in visual arts and photography. Her work has been shown nationally and internationally. In 2019, her book “Inner Self” was published with Case Publishing, a Japanese publisher. The book launch was at the same time as her solo show at Poetic Scape in Tokyo. Anne-Sophie Guillet is currently working on her “Together” series around love and relationships, what bonds one to another and questions their representation. The series suggests that we change our attitude and perception on the ways people live their relationships. (Instagram)

Alyssa Nitchun headshotAlyssa Nitchun is Executive Director of The Leslie-Lohman Museum of Art, where she oversees the Museum’s many initiatives and long-term growth. Founded just weeks before the Stonewall uprising and located in Soho, New York, LLMA provides a platform for artistic exploration through multi-faceted queer perspectives. Prior to LLMA, Alyssa was an independent cultural consultant focused on the Middle East and Europe, advising artists and cultural institutions on projects at the intersection of art, social justice, and public space. From 2012 to 2018, Alyssa was with the public art organization Creative Time where she held a variety of positions focused on development, communications, and team management, culminating with Acting Executive Director. Prior to Creative Time, Alyssa oversaw Institutional Giving for StoryCorps – the public media organization archiving diverse oral histories at the Library of Congress. Alyssa has also served as Director of Development for the CUNY Graduate Center’s Center for Lesbian and Gay Studies and has held multiple creative positions in the worlds of art, fashion, and music. Alyssa received an MA in Gender Politics with a focus in Queer theory from New York University.

About Speciwomen

SPECIWOMEN is a community of emerging womxn makers from all over the world representing each other through the means of interviews, essays, new media and print publications. Our goal is to bring forward the work of artists that deserve a better representation than the one given to them in the art world.

Philo Cohen started SPECIWOMEN in 2015, aiming to foster intersectional communities built from equality and respect. Click here to view the website.

 

Thank you to Philo Cohen and the team at Speciwomen for partnering with ArtTable on this program.


Images:

  1. Cover of Speciwomen’s third issue.
  2. Headshots provided by the speakers.

Virtual | Reimagining Public Monuments: Old Stories & New Narratives

6pm ET | 5pm CT | 4pm PT

We are delighted to present Monuments & Memorials: Then & Now, a three part series about the history, context and creation of public monuments and memorials.

This first panel will introduce milestones and controversies of past memorials and monuments. We will hear from Professor Harriet F. Senie, Professor of Art History at C.U.N.Y. and its Graduate Center, who will offer her perspective on The Evolution of Monuments: Paradigms and Underlying Issues based on her 30 years of experience teaching, writing and participating on national selection commissions in the field of public art. She is joined by artist Alison Saar, who will reflect on her much admired permanent 2007 Harriet Tubman Monument in Harlem, a case study, in New York City where there are few monuments to women or non-white males. We will also hear from artist Marisa Williamson, who is known for reimagining under-represented historical subjects by bringing these figures to life through performance art and augmented reality (AR). She will speak about her practice using new narratives and new media for contemporary audiences. Cathie Behrend, ArtTable New York member who co-organized this series, will introduce the program and panelists.

The second panel in this series will be announced in the coming weeks and will focus on Reimagining Public Monuments & Memorials: Through Other Lenses. What have we seen? Whose stories will we now tell? Who will decide? Who will provide funding? What visions do artists now imagine for the future? A third panel in September will wrap up the series with a focus on the Preservation of Public Monuments & Sacred Spaces at Home & Abroad. We hope you will join us for all three!

We also look forward to sharing more information on an upcoming walking tour of Harlem with Cathie Behrend that will highlight monuments and memorials in the neighborhood, including Alison Saar’s “Swing Low: Harriet Tubman Memorial” and the Frederick Douglass Sculpture and Water Wall. Stay tuned for more details!

Admission

  • Non-Members – $15
  • ArtTable Members – $10
  • 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 Professor Harriet F. Senie

Harriett SenieHarriet F. Senie is professor of art history at City College and the CUNY Graduate Center. She is the author of Memorials to Shattered Myths: Vietnam to 9/11; The “Tilted Arc” Controversy: Dangerous Precedent?; and Contemporary Public Sculpture: Tradition, Transformation, and Controversy.  She is co-editor and contributor to Teachable Monuments: Using Public Art to Spark Dialogue and Confront Controversy; Museums and Public Art?; A Companion to Public Art; and Critical Issues in Public Art. In 2008, she cofounded Public Art Dialogue, an international organization and College Art Association affiliate, and coedited its peer review journal Public Art Dialogue from 2011-17. She has served on the New York City Mayoral Advisory Commission on City Art, Monuments, and Markers; the She Built New York advisory committee, and selection committees for the Women’s Rights Pioneers Monument in Central Park; the Mexico City 1968 Memorial; and the Flight 587 Memorial. Her current book project is Monumental Controversies: Mount Rushmore, Four Presidents, and the Quest for National Identity.

About Alison Saar

Alison SaarAlison Saar was born in Los Angeles, California. She has been commissioned to create a number of Public Monuments including Swing Low a monument to Harriet Tubman, Terra Incognita a memorial to York of the Lewis and Clark expedition and Embodied a monument to Justice. She received the United States Artist Fellowship in 2012 and has also been awarded the John Simon Guggenheim Memorial Foundation Fellowship and two National Endowment Fellowships. Alison has exhibited at many galleries and museums, including the Hirshhorn Museum and Sculpture Garden and the Whitney Museum of American Art. Her art is represented in the collections of the Whitney Museum of American Art, the Baltimore Art Museum, the Modern Museum of Art and the Metropolitan Museum of Art.

About Marisa Williamson

Marisa Williamson; a black woman with her hair pulled back by a red bandana; wearing a black tank top; standing in front of a grey and pale green muralMarisa Williamson is a project-based artist who has produced site-specific works at Monticello, & by commission from Storm King Art Center, the Metropolitan Museum of Art, Monument Lab, & the National Park Service. She has had solo exhibitions at the University of Virginia, the University of Washington, & SPACES in Cleveland. Her work has been exhibited nationally & internationally. Williamson has received grants from the Rema Hort Mann Foundation, the Schlesinger Library on the History of Women in America, & the Graham Foundation. Williamson holds a BA from Harvard & an MFA from CalArts. She lives & works in New Jersey & Connecticut, serving as an assistant professor of media arts at the University of Hartford.

 

Thank you to Cathie Behrend, former Deputy Director of New York’s Percent for Art Program and founder of VenturesinVision, and Lori Shepard, member of ArtTable’s New York Chapter Programs Committee, for organizing this program series.


Images:

  1. Marisa Williamson, Ruffin Hall: University of Virginia – Seeing that nothing is purely black or white, the Ghost of Thomas Jefferson wanders in this grey area. Charlottesville, VA. From Postcard Book: The Ghost of Thomas Jefferson, 2018. Edition of 150. Photo by Gabby Fuller. Courtesy of the Artist. | Swing Low: A Harriet Tubman memorial by Alison Saar (Photo: Devin A. Hill for TravelMag)
  2. Harriet F. Senie, courtesy of the speaker
  3. Alison Saar Self Portrait, courtesy of the artist
  4. Marisa Williamson, courtesy of the artist

Virtual | Deaccessioning: Competing Needs, Contested Terrain, & the Future of the American Museum

1pm ET | 11pm CT | 10am PT

 

American art museums are at a critical crossroads. The economic fallout from COVID-19 coupled with the urgent need to address systemic racism and social injustice are converging to create a looming state of emergency. These intertwined crises have given rise to debates about who and what museums are for, and what role permanent collection objects play in fulfillment of their missions. At the forefront of these discussions is the controversial practice of collection deaccessioning. A succession of headlines announcing the consignment of valuable art from high-profile institutions to auction houses throws into relief just how important it is, at a time when art collections are increasingly seen to be in tension with addressing equity needs. This clash of priorities exists in the face of eroding resources, and raises existential questions about the nature of museums and the public they serve, as well as considerations of ethical guardrails and legislative oversight.

We invite you to join ArtTable and our expert panel on April 27 from 1-2 PM (EST) for a lively conversation about this pressing issue. We will hear from Dr. Jill Deupi, Beaux Arts Director & Chief Curator of the Lowe Art Museum (University of Miami); Katie Wilson-Milne, Partner at Schindler, Cohen & Hochman LLP; and Sara Raza, former Guggenheim UBS MAP Curator for the Middle East & North Africa; moderated by Hope Davis, fine art appraiser, Hudson River Museum trustee, and member of the ArtTable New York Programs Committee.

Admission

  • Non-Members – $15
  • ArtTable Members – $10
  • 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 the Speakers

Dr. Jill DeupiDr. Jill Deupi is the Beaux Arts Director and Chief Curator of the Lowe Art Museum (University of Miami). Prior to assuming this position, Deupi was Director and Chief Curator of University Museums at Fairfield University, where she was also an Assistant Professor of Art History. Deupi is a Trustee of the Association of Art Museum Directors (AAMD), co-chairs the Task Force for the Protection of University Collections (AAMG), and chairs the City of Coral Gables Arts Advisory Panel. She is also a Fellow of the American Academy in Rome, the Leading Change Institute, and the Getty Leadership Institute.

Katie Wilson-MilneKatie Wilson-Milne is a Partner at Schindler, Cohen & Hochman LLP. Katie advises clients in the art, cultural and creative communities, including art galleries, other art businesses, collectors, artists, and not-for-profit organizations on matters related to the purchase, sale, lending and financing of art, as well as gallery, auction house, and museum relationships and corporate governance. She also represents clients in the art world in disputes involving representation, collaborations, contracts, copyright, authenticity, title, provenance and appraisals. Katie also teaches and speaks regularly on art law topics. She is the former Secretary of the Art Law Committee of the New York City Bar Association and co-hosts the Art Law Podcast with Steven Schindler.

Sara RazaSara Raza is the former Guggenheim UBS MAP Curator for the Middle East and North Africa. She has curated exhibitions of visual art art and culture for over a decade (2004-2018) internationally, in both an independent and institutional capacity, for museums, festivals and biennials, focusing on global art practices from Asia and the Middle East. She has also curated a number of public programs of artist talks and symposia to accompany her projects.

Hope DavisHope Davis (moderator) is a fine art appraiser and a trustee of the Hudson River Museum in Westchester, NY. Beginning at Sotheby’s, her professional experience brought her to M. Knoedler & Co., where as Director of American Art, she organized major exhibitions on James McNeill Whistler (Margaret MacDonald, Curator), and Winslow Homer (Lloyd Goodrich, Curator). She established Hope Davis Fine Art in the late 1980s, specializing in late 19th-20th century American art. Now living in the Berkshires, she also curates exhibitions and promotes contemporary regional artists through Davis Gregory Art.

 

Thank you to Hope Davis, ArtTable’s New York Chapter Programming Committee, for organizing this program.


Images: 

  1. Art Storage. Image via kasten-storage.com, via Widewalls
  2. GIF Headlines courtesy of the New York Times, Hyperallergic, The Art Newspaper, and Artnet News

Virtual | Where Are We Now? Revisiting the State of Fine Art Shipping in a Post-Pandemic World

12pm ET | 11am CT | 9am PT

Since the start of the pandemic, fine art shippers, registrars, and collections managers have had to find inventive solutions to moving artwork during a global lockdown. Back in July 2020, when the art world was still adapting to new pandemic-related regulations, ArtTable hosted a virtual conversation on this topic, where we discussed evolving logistical measures and responsibilities taken on by arts institutions and spaces within and outside of the US. As we approach the one year mark of the pandemic in the US, we revisit this conversation with new insights and discuss other factors that continue to affect the shipping sector of the art market, like new regulations between the US and the UK, continued gallery closures and staff reductions, and shifting exhibition and fair schedules.

What have shipping agents and registrars learned in the past year about adapting their tried and tested methods? How are museums, art galleries, or private collections faring amid ever-changing regulations? And what can we expect in the coming months? Join us for what is sure to be a fascinating discussion with Jacqueline Cabrera (Cabrera + Art + Management), Tina Sullivan (Masterpiece International), and Anna Marris (Constantine International).

Admission

  • Non-Members – $10
  • ArtTable Members – $5
  • ArtTable Circle Members – Free

Not a member? Join today!

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

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.

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


About the Speakers

Jacqueline CabreraJacqueline Cabrera is currently Principal at Cabrera + Art + Management, Host of the Registrar Hour and past President and founding board member of the Association of Registrars and Collection Specialists. From 1996 – 2016 she worked at the J. Paul Getty Museum as a registrar at both the Getty Villa and Getty Center museums. Jacqueline has also served as Chair of the Registrar’s Committee Western Region and as a board member for the Western Museum Association. Prior to joining the Getty in 1996 she was the Registrar at the Long Beach Museum of Art and previously a Painting Department Assistant at Sotheby’s.

Tina SullivanTina Sullivan is the Vice President of Fine Arts at Masterpiece International. She has worked in the fine art logistics industry for the past 23 years.  She started at Masterpiece International in 1997 as their in-house licensed Customhouse Broker, and now
serves as the Vice President of Fine Arts, overseeing all fine art operations on the West Coast. Tina is a licensed Customhouse broker and has a strong understanding of U.S. Customs and U.S. Fish and Wildlife regulations.

 

Anna Marris

Anna Marris started her career in the fine arts logistics world at Wingate & Johnston (London) in 1984. She then went on to work for MOMART for 25 years where in 1996 she became the first female Director in the Art transport Industry. In 2015 she rejoined the Constantine (parent company of W&J) as Associate Director, again the first female Director for the company.

 

 

 

 

Thank you to Jacqueline Cabrera from ArtTable’s SoCal Chapter for organizing this program.


Images: 

  1. Courtesy of The ARTA blog
  2. Jacqueline Cabrera, courtesy of the speaker
  3. Tina Sullivan, courtesy of the speaker
  4. Anna Marris, courtesy of the speaker
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