Curator of Contemporary Art, Southeastern Center for Contemporary Art
Winston Salem, NC
Cora Fisher is Curator at the Southeastern Center for Contemporary Art (SECCA) where since 2013 she has organized fifteen exhibitions and a host of public programs. Her most recent exhibition is Dispatches, which brings together contemporary artists, photojournalists and media practitioners to respond to critical issues in the news today. She has also launched a juried North Carolina Artist Salon Series, 12 x 12, offering a platform to some of the best emerging and mid-career artists working across the state now. A New York City-native, she has been a freelance writer and editor since 2006. She holds a BFA from The Cooper Union School of Art and an MA from the Center for Curatorial Studies at Bard College.
Curator of Contemporary Art, Crystal Bridges Museum of American Art
Lauren Haynes is Curator, Contemporary Art at Crystal Bridges Museum of American Art in Bentonville, Arkansas. Prior to joining Crystal Bridges in October 2016, Haynes spent nearly a decade at The Studio Museum in Harlem where she was, most recently the Associate Curator for the permanent collection. As a specialist in African American modern and contemporary art, Haynes curated dozens of exhibitions at the Studio Museum and contemporary art institutions in New York. At the Studio Museum, Haynes oversaw the care and collection of the permanent collection as well as acquisitions and exhibitions.
As Associate Curator, Permanent Collection, for the Studio Museum Haynes has curated four main space exhibitions including Alma Thomas (co-curator); Speaking of People: Ebony, Jet and Contemporary Art; Trenton Doyle Hancock: Skin and Bones, 20 Years of drawing (institutional organizer) and Stanley Whitney: Dance the Orange. In addition to making the front page of the New York Times Arts Section, Stanley Whitney: Dance the Orange received favorable reviews from many publications including The New Yorker, The Wall Street Journal, the Financial Times, Art in America and Artforum.
As an Assistant Curator at the Studio Museum, Haynes oversaw the Artist-in-Residence program in 2011–12, 2012–13 and 2013–14. In addition to that, Haynes curated over a dozen exhibitions including Carrie Mae Weems: The Museum Series, Spiral: Perspectives on an African-American Art Collective and Kira Lynn Harris: The Block/Bellona. She also co-curated serval exhibitions including Fore, the most recent exhibition of emerging artists in the Studio Museum’s seminal “f” show series which includes Freestyle, Frequency and Flow.
As part of her curatorial practice, Haynes has authored several catalogues such as Alma Thomas, The Bearden Project, Speaking of People: Ebony, Jet and Contemporary Art and Stanley Whitney: Dance the Orange. At the Studio Museum Haynes coordinated production for various publications: Gordon Parks: A Harlem Family 1967 (2012); Stephen Burks: Man Made (2011); Lynette Yiadom-Boakye: Any Number of Preoccupations (2011); Harlem: A Century in Images (2010); Kehinde Wiley – The Word Stage: Africa, Lagos ~ Dakar (2008); and Kori Newkirk: 1997-2007 (2007). In addition to her work at the Studio Museum, Haynes has participated in many panels and lectures about African American artists. She has also lectured at venues around the United States including The Whitney Museum of American Art, Deutsche Bank and Texas State University, San Marcos. She is a member of the Association of Art Museum Curators and serves on the Nomination and Governance Committee. Haynes is a recipient of a 2016 Gold Rush Award from Rush Philanthropic Arts Foundation.
Curator at the Zuckerman Museum of Art at Kennesaw State University
Sarah Higgins is Curator at the Zuckerman Museum of Art at Kennesaw State University. She has curated over 30 exhibitions featuring a diverse range of emerging, established, and international artists for institutions such as the Hessel Museum of Art, Atlantic Center for the Arts, and the Southeastern Center for Contemporary Art. She holds a M.A. in Curatorial Studies from the Center for Curatorial Studies (CCS Bard), where she also served as Graduate Program Coordinator from 2013-2015.
She was Curatorial Coordinator for the 2013 MFA Thesis Exhibition, Milton Avery Graduate School of the Arts, Bard College and has been a Curatorial Fellow under Lauren Cornell at the New Museum in NYC. She was a member of the curatorial team for the exhibition 199A-199B, a retrospective of works from the 1990s by Liam Gillick at the Hessel Museum at Bard. Prior to attending CCS Bard, Sarah was Community Arts Director at Atlantic Center for the Arts from 2007 – 2011. There, she served as curator of Atlantic Center’s Harris House Gallery, developed multidisciplinary youth arts and residency programs, and managed community outreach and educational programming. Before 2007, she was Assistant Director of Parchman Stremmel Gallery and an Educator at ArtPace, both in San Antonio, Texas. She holds a B.F.A. from Atlanta College of Art in sculpture and printmaking.
Merrie and Dan Boone Curator of Folk and Self-Taught Art, High Museum of Art
Katherine Jentleson joined the High Museum of Art as the Merrie and Dan Boone Curator of Folk and Self-Taught Art in 2015. In that same year, Jentleson earned her Ph.D. from Duke University. Her dissertation, “Gatecrashers: The First Generation of Outsider Artists in America,” examines the rise of institutional interest in self-taught artists during the interwar years. Jentleson is the recipient of awards and fellowships from Duke University, The Smithsonian American Art Museum, the Archives of American Art and the Dedalus Foundation. She also contributed research and writing to exhibitions at the American Folk Art Museum, the Ackland Art Museum, the Nasher Museum of Art, the Studio Museum in Harlem and Prospect.3 New Orleans. Jentleson earned a Bachelor of Arts degree from Cornell University where she studied Comparative Literature and wrote her thesis on the Catalan painter Antonio Tàpies.
Curator of Contemporary Art at the Speed Art Museum
Miranda Lash is Curator of Contemporary Art at the Speed Art Museum. At the Speed Lash oversees the contemporary department’s exhibitions, programming, collection, and acquisitions, as well as commissions for the Elizabeth P. and Frederick K. Cressman Art Park. Prior to the Speed, Lash was the founding curator of modern and contemporary art at the New Orleans Museum of Art from 2008 to 2014. At NOMA she organized over twenty exhibitions, including the traveling retrospective exhibition Mel Chin: Rematch; Swoon: Thalassa; Camille Henrot: Cities of Ys; and Parallel Universe: Quintron and Miss Pussycat Live at City Park. Her essays have been published in the Harvard journal Res: Anthropology and Aesthetics, the anthology Baroque Tendencies in Contemporary Art, New American Painting, and Gulf Coast: A Journal of Literature and Fine Arts. Lash has been a Clark Fellow at the Clark Art Institute, a consultant for Creative Capital, a panelist for the National Endowment for the Arts, and a member of the Curator’s Council for U.S. Biennial Prospect.4. Her upcoming exhibition at the Speed, Southern Accent: Seeking the American South in Contemporary Art, an inquiry into Southern identity, is co-organized with Trevor Schoonmaker, chief curator at the Nasher Museum of Art at Duke University, and is accompanied by an extensive catalog published by Duke University Press. She is a graduate of Harvard University and Williams College.
Fine Arts Journalist
Sara Estes is a writer and critic based in Nashville. She is a columnist at Burnaway and an editor at Number, an independent arts journal of the South. From 2014-2016, she was the lead art writer at The Tennessean. She is the former gallery coordinator for Fisk University’s Carl Van Vechten Gallery, and has also worked at David Lusk Gallery and Cumberland Art Conservation Center. She is the cofounder of Threesquared Gallery. Her writing has been featured in Hyperallergic, The Bitter Southerner, Oxford American, BookPage, Chapter 16, Empty Mirror, Nashville Scene, Nashville Arts Magazine, and others.
Curator of Second Street Gallery in Charlottesville
Tosha Grantham earned a B.A. in art history from Georgetown University, and an M.A. in art history from Howard University. She is a PhD Candidate in art history in the Department of Art History and Archaeology at the University of Maryland, College Park. Grantham’s scholarship focuses on contemporary art with a specialization in American and African Diaspora arts and a minor in West and Central African art history. Her dissertation, Juju for the Guggenheim: Contemporary Arthropology featuring work by José Bedia, Sanford Biggers, Arturo Lindsay and Renée Stout examines intersections of artistic practice and ritual in contemporary art and performance. Grantham was the David C. Driskell Fellow in Museum Studies at the Walters’ Art Museum (2006), and the Department of Art History and Archaeology Museum Fellow at the Walters’ Art Museum (2007). She received the Jenny Rhee Fellowship (2006–2011), the Graduate School Summer Research Fellowship (2011), and funding from the Latin American Studies Center to attend the 15th Fábrica de Idéais at the Universidade Federal da Bahia in Salvador, Brazil (2012), and for research in Panama (2013).
Grantham was Assistant Curator of Modern and Contemporary Art at the Virginia Museum of Fine Arts (VMFA, 2000–2006). She was guest curator of the exhibition, Darkroom: Photography and New Media from South Africa since 1950 (VMFA and the Birmingham Museum of Art, 2010–2011) and co-editor of the catalog (UVA Press 2009). For Darkroom Grantham/VMFA received grants from the Horace Goldsmith Foundation (2004), the National Endowment for the Arts (2006), and the Andy Warhol Foundation (2006).
As curator of Second Street Gallery, in Charlottesville, VA, Grantham has curated, since 2013, the following exhibitions, Taliaferro Logan: Latitudes and Longitudes, Arturo Lindsay: Portraits of Yemaya; Yeni Mao: The Conqueror; Edward Thomas: Praxinoscopes; Amy Sherald: Off the Chain—American Art Unfettered; Siemon Allen: Labels; Sonya Clark: Bitter, Sweet, and Tender; Rashaun Rucker: Fly Away; Matthew P. Shelton/Nikolai M. Noel: contested bodies; and José Bedia: Lembrança de Nosso Paso Por Aquela Terra Brava among others.
Executive Director and Chief Curator for the Gibbes Museum of Art
Angela Mack is the Executive Director and Chief Curator for the Gibbes Museum of Art, which has undergone a $14M building renovation and opened to the public on May 28th. Her publications include Landscape of Slavery: The Plantation in American Art (2008); Edward Hopper in Charleston (2008); Henry Benbridge (1743-1812): Charleston Portrait Painter (2001); and In Pursuit of Refinement: Charlestonians Abroad, 1740-1860 (1999). A contributor to several periodicals, she has written articles for The Magazine Antiques, Sculpture Magazine, American Art Review, and South Carolina Historical Society Magazine.
Mrs. Mack is chair of the Charleston Heritage Federation, a member of the Board of the Charleston Area Visitors and Convention Bureau, and serves on the Art and History Commission of the City of Charleston. She has served on the Citadel Humanities and Social Sciences Advisor Committee, the scholars committee for the NYC Winter Antique Show exhibition, and has lectured at Sotheby’s, Colonial Williamsburg, and for the National Decorative Arts Trust.
Curator at the John Michael Kohler Arts Center
Karen Patterson is the Curator at the John Michael Kohler Arts Center (JMKAC) in Sheboygan, Wisconsin. With an interdisciplinary curatorial approach and a strong interest in generating thoughtful exchanges with a variety of audiences, Patterson works to integrate under-represented art forms into international art discussions.
Her primary research focus is the Arts Center’s premier collection of folk art, self-taught art, and artist environments interested and she incorporates these works into curatorial projects that explore a variety of contemporary themes. She also works with a range of artists, artworks, and commissioned site-specific pieces. Her recent curatorial projects include Ebony G. Patterson: Dead Treez, Ray Yoshida’s Museum of Extraordinary Values, and This Must Be The Place, an exhibition series exploring the relationship between artists and their formative places. These exhibitions have been reviewed by many national publications including the New York Times and Artforum. Patterson completed her Bachelor of Arts in Folklore Studies at Memorial University in Newfoundland, Canada, and her Masters of Art Administration at the School of the Art Institute of Chicago. She is an alum of the Independent Curators International Curatorial Intensive Program and is currently working as a curator with the inaugural Associate Artist Program in conjunction with the 2016 Liverpool Biennial. Prior to joining JMKAC, she developed interpretive programs for house museums and heritage sites in Canada and the US and co-founded a 12-hour public art festival, Nocturne: Art at Night, in Nova Scotia.
Nancy Hanks Curator of Modern and Contemporary Art at the Nasher Museum of Art at Duke University
Marshall N. Price is the Nancy Hanks Curator of Modern and Contemporary Art at the Nasher Museum of Art at Duke University. He received a Ph.D. in Art History from the Graduate Center, City University of New York. Between 1998 and 2002 Dr. Price was Curatorial Assistant at the Santa Barbara Museum of Art. He held the position of Curator of Modern and Contemporary Art at the National Academy Museum, New York from 2003 until 2014. He has organized dozens of exhibitions including most recently A Material Legacy: The Nancy A. Nasher and David J. Haemisegger Collection of Contemporary Art, Jeffrey Gibson: Said the Pigeon to the Squirrel, Pat Steir: Blue River, John Cage: The Sight of Silence, and George Tooker: A Retrospective. Over the course of his career Dr. Price has lectured and written extensively on modern and contemporary art including recent publications Robert Kipniss: Paintings and Poetry, 1950-1964, Martin Kline: Romantic Nature, Aleatoric Affinities: John Cage and Maria Elena González’s “Skowhegan Birch #1”, Emma Tapley: Transcendence and Time, and others. (credit J. Caldwell for the photo)