TFAP@CAA Day of Panels Symposium Chair Biographies - The Feminist Art Project
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2021 – Online
Tatiana Flores, Ana María Reyes, and Laura Anderson Barbata

Tatiana Flores is a Professor in the Department of Latino and Caribbean Studies at Rutgers, The State University of New Jersey, with a joint appointment in the Department of Art History. A specialist in modern and contemporary Latin American art, she is the author of Mexico’s Revolutionary Avant-Gardes: From Estridentismo to ¡30-30! (Yale University Press, 2013). A revisionist and interdisciplinary account of Mexican modern art as seen through two avant-garde movements, the book was awarded the 2014 Humanities Book Prize by the Mexico Section of the Latin American Studies Association. A 2017-18 Getty Scholar, Flores received the 2016 Arts Writers book prize from the Andy Warhol Foundation and was the 2007-2008 Cisneros Visiting Scholar at the David Rockefeller Center for Latin American Studies at Harvard University. She is President of the Association for the Study of the Arts of the Present (ASAP), past chair of the editorial board of Art Journal, and also serves on the boards of ASAP/Journal and Latin American and Latinx Visual Culture. Professor Flores is active as an independent curator. She was an invited expert for the launch of the Getty Foundation’s initiative Pacific Standard Time: LA/LA. As part of this program, she curated the critically acclaimed exhibition Relational Undercurrents: Contemporary Art of the Caribbean Archipelago for the Museum of Latin American Art (MOLAA) in Long Beach, CA and was also an adviser for the Skirball Cultural Center exhibition Another Promised Land: Anita Brenner’s Mexico.


Ana María Reyes is an Assistant Professor in Latin American art history at Boston University, Associate Researcher at Harvard University, and founding member of the Symbolic Reparations Research Project (SRRP). Her research focuses on issues of victim commemoration, cultural production as activism, and social discrimination as representational violence in Latin American art. Her book The Politics of Taste: Beatriz González and Cold War Aesthetics (Duke University Press, 2019) studies symbolic violence in the context of Cold War aesthetic and modernization discourses. She co-edited with Maureen Shanahan Simón Bolívar: Travels and Transformations of a Cultural Icon (University Press of Florida, 2016) on cultural bolivarianisms as a case for the arts and humanities in democratic practices. Reyes is currently working a book manuscript on commemorative practices and the Colombian Peace Process.


Laura Anderson Barbata is an artist, author, performer, and transdisciplinary artist based in Brooklyn and Mexico City, born in Mexico. Since 1992 she has worked primarily in the social realm, and has initiated projects in the Venezuelan Amazon, Trinidad and Tobago, Mexico, Norway, and the United States. In 2005 she campaigned for the repatriation of Julia Pastrana, which resulted in the removal of Pastrana’s body from the Schreiner Collection in Oslo and its successful repatriation and burial in Sinaloa, Mexico, Pastrana’s birth state. The project continues with upcoming publications, exhibitions and performances. Her work is in various private and public collections, including the Metropolitan Museum of Art, New York; el Museo de Arte Moderno, México D.F.; Landesbank Baden-Württemberg Gallery, Stuttgart, Germany; Fundación Cisneros, American Express Co., México; Museo Carrillo Gil, México; Museum of Contemporary Art, San Diego, California; Museo Jaureguía, Navarra, Spain and Thyssen-Bornemisza Art Contemporary. Recipient of the Anonymous Was a Woman 2016 Award; Defense of Human Rights Award 2017, Instituto de Administración Pública de Tabasco, México; honorary fellow of LACIS (the Latin American, Caribbean, and Iberian Studies Program), University of Wisconsin, Madison; fellow of the Thyssen-Bornemisza Art Contemporary TBA21 The Current program. Miembro del Sistema Nacional de Creadores, México (2014-2017) and professor at Escuela Nacional de Escultura, Pintura y Grabado La Esmeralda of the Instituto Nacional de Bellas Artes (2010-2015).

2020 – Chicago
Claudia Calirman and Tatiana Flores

Claudia Calirman is Associate Professor at John Jay College of Criminal Justice, New York, in the Department of Art and Music. Her areas of study are Latin American, modern, and contemporary art. She is the author of Brazilian Art under Dictatorship: Antonio Manuel, Artur Barrio, and Cildo Meireles (Duke University Press, 2012), which analyses the intersection of politics and the visual arts during the most repressive years of Brazil’s military regime, from 1968 until 1975. The book received the 2013 Arvey Award by the Association for Latin American Art. Calirman is a 2013 recipient of the Arts Writers Grant from Creative Capital/Warhol Foundation and was the 2008-2009 Jorge Paulo Lemann Visiting Scholar at the David Rockefeller Center for Latin American Studies at Harvard University. She is a member of the International Association of Art Critics (AICA). Calirman has curated several exhibitions in New York, including Berna Reale: While You Laugh (Nara Roesler Gallery, NY, 2019); Basta! Art and Violence in Latin America (John Jay College, 2016); and Antonio Manuel: I Want to Act, not Represent! (Americas Society, 2011).


Tatiana Flores is Associate Professor in the Department of Latino and Caribbean Studies at Rutgers, The State University of New Jersey, with a joint appointment in the Department of Art History. A specialist in modern and contemporary Latin American art, she is the author of Mexico’s Revolutionary Avant-Gardes: From Estridentismo to ¡30-30! (Yale University Press, 2013). A revisionist and interdisciplinary account of Mexican modern art as seen through two avant-garde movements, the book was awarded the 2014 Humanities Book Prize by the Mexico Section of the Latin American Studies Association. A 2017-18 Getty Scholar, Flores received the 2016 Arts Writers book prize from the Andy Warhol Foundation and was the 2007-2008 Cisneros Visiting Scholar at the David Rockefeller Center for Latin American Studies at Harvard University. She is Vice President of the Association for the Study of the Arts of the Present (ASAP), chair of the editorial board of Art Journal, and also serves on the boards of ASAP/Journal and Latin American and Latinx Visual Culture. Professor Flores is active as an independent curator. She was an invited expert for the launch of the Getty Foundation’s initiative Pacific Standard Time: LA/LA. As part of this program, she curated the critically acclaimed exhibition Relational Undercurrents: Contemporary Art of the Caribbean Archipelago for the Museum of Latin American Art (MOLAA) in Long Beach, CA and was also an adviser for the Skirball Cultural Center exhibition Another Promised Land: Anita Brenner’s Mexico.

2019 – New York City
Christen Clifford and Jasmine Wahi

Christen Clifford is a feminist performance artist, professor, curator, writer and mother currently working on her first film. She is a 2018 Feminist-in-Residence at Project for Empty Space, and 2018 Screen Forward Lab Fellow at the Independent Film Project.  She has presented work at The New Museum, Panoply Performance Lab, ArtshareLA, Grace Exhibition Space, Vox Populii, PS 122, Westbeth Gallery, Mesto Zensk, Art in Odd Places, SoHo20, Postmasters Gallery, Root Division, and Dixon Place, where she co-curates Experiments and Disorders. Her writing is published in The Guardian, Broadly, Filmmaker Magazine, Huffington Post, Hyperallergic, Culturebot and The Brooklyn Rail. Her essay “Mother Daughter Mustache” was in the New York Times bestselling anthology Women in Clothes and read by Molly Ringwald at Symphony Space on National Public Radio. She was a mainstage storyteller for The Moth at The National Arts Club and is a performer in Laura Parnes’ Tour Without End.  Clifford received her Bachelor of Fine Arts from New York University and her Master of Fine Arts from The New School. She teaches at The New School where she focuses on Rape Culture, Sexual Justice, Contemporary Feminisms, and The Body in Performance Art. Clifford previously taught at SUNY Purchase and has been a visiting artist at MIT, NYU, American University. Her work has been written about in The New York Times, Bomb Magazine, New York Magazine, Time Out New York, Refinery 29, Mashable, Art in America, Artforum, and Bookforum. New York Foundation for the Arts, New York State Council on the Arts, Ragdale, Virginia Center For The Creative Arts fellowships.


Jasmine Wahi is a Curator, Activist, and a Founder and Co-Director of Project for Empty Space.  Her Practice predominantly focuses on issues of femme empowerment, complicating binary structures within social discourses, and exploring multipositional cultural identities through the lens of intersectional feminism.  In 2010, Ms. Wahi Co-Founded Project For Empty Space, a not-for-profit nomadic organization that creates multidisciplinary art exhibitions and programming that encourage social dialogue, education, and systematic change through the support of both artists and communities.  In 2015, Ms. Wahi joined Rebecca Jampol to open a brick and mortar gallery for PES Newark, NJ.  Though she does not consider herself to be an artist, Ms. Wahi has organized numerous interventions and happenings as part of her social activist work.  She will be serving as the Co-Chair for the College Art Association’s “Day of Panels” for The Feminist Art Project (TFAP) in 2018, organizing a day of intersectional feminist based performances, films, and conversations.  In addition to her work, Ms. Wahi a faculty member at the School of Visual Arts: MFA Fine Arts dpartment, where she teaches Intersectional Feminism and Art Making Praxis, and is a thesis advisor.  She has been a Master Class teacher for YoungArts, is a former board member of the South Asian Women’s Creative Collective (SAWCC), and a volunteer instructor for the Girls Education Mentoring Service (GEMS) group. Ms. Wahi’s curatorial work has been featured in the Wall Street Journal, Vogue, Vogue India, Hyperallergic, VICE Impact, Whitewall Magazine, and ArtNet, to name a few.

2018 – Los Angeles
Jamillah James and Lanka Tattersall

Jamillah James is Curator at the Institute of Contemporary Art, Los Angeles (ICA LA). Previously, she was Assistant Curator at the Hammer Museum, Los Angeles, and organized exhibitions and programs for Art + Practice in Leimert Park. In Los Angeles, James has organized the first solo institutional presentations of artists Abigail DeVille, Sarah Cain, Simone Leigh, Alex Da Corte, Njideka Akunyili Crosby, and Charles Gaines. James has held curatorial positions at the Studio Museum in Harlem and Queens Museum, and has independently organized exhibitions, performances, and screenings throughout the US and Canada since 2004. She is currently working on major presentations of B. Wurtz, the artist’s first American survey (2018); Nayland Blake, his first solo museum exhibition in Los Angeles (2019); and solo projects with Rafa Esparza, Maryam Jafri, and Lucas Blalock.


Lanka Tattersall is the Assistant Curator at the Museum of Contemporary Art, Los Angeles   (MOCA). Before joining MOCA, she was the Curatorial Assistant at TheMuseum of Modern Art, New York (MoMA) in the Department of Painting and Sculpture. At MoMA, she was part of the curatorial team, led by Kathy Halbreich, for the acclaimed exhibition Alibis: Sigmar Polke 1963-2010. This retrospective opened at MoMA in 2014, is currently on view at Tate Modern, London and will travel to the Museum Ludwig, Cologne in March 2015. Prior to joining MoMA, Tattersall entered the doctoral program in the Department of History of Art and Architecture at Harvard University, where she is currently completing her dissertation on Sigmar Polke’s work of the 1960s.

2017 – New York City
Jaune Quick-to-See Smith, Maria Hupfield, and Kat Griefen

Jaune Quick-to-See Smith is one of the most acclaimed American Indian artists of today. She has been reviewed in most art periodicals.  Smith has had over 100 solo exhibits in the past 40 years and has done printmaking projects nationwide.  Over that same time, she has organized and/or curated over 30 Native exhibitions, lectured at more than 200 universities, museums and conferences internationally, most recently at 5 universities in China. Smith has completed several collaborative public art works such as the floor design in the Great Hall of the new Denver Airport; an in-situ sculpture piece in Yerba Buena Park, San Francisco and a mile-long sidewalk history trail in West Seattle and recently, a new terrazzo floor design at the Denver Airport.

Smith uses humor and satire to examine myths, stereotypes and the paradox of American Indian life in contrast to the consumerism of American society. Her work is philosophically centered by her strong traditional beliefs and political activism. Smith is internationally known as an artist, curator, lecturer, print-maker and professor. She was born at St. Ignatius Mission on her Reservation and is an enrolled Salish member of the Confederated Salish and Kootenai Nation of Montana. She holds 4 honorary doctorates from the Pennsylvania Academy of the Arts, the Minneapolis College of Art and Design, Mass College of Art and the University of New Mexico. Her work is in collections at the Whitney Museum, the Metropolitan Museum, the Brooklyn Museum, Smithsonian American Art Museum, the Walker, the Victoria and Albert Museum, London, the Museum of Modern Art, New York, Museum for World Cultures, Frankfurt, Germany and Museum for Ethnology, Berlin. Recent awards include a grant from the Joan Mitchell Foundation to archive her work; the 2011 Art Table Artist Award; Moore College Visionary Woman Award for 2011; Induction into the National Academy of Art 2011; Living Artist of Distinction, Georgia O’Keeffe Museum, NM 2012; the Switzer Award for 2012.


Maria Hupfield (born 1975 in Parry Sound, Georgian Bay, Ontario) is a member of Wasauksing First Nation, Ontario, and is currently based in Brooklyn, New York. Solo exhibitions had been held at MacKenzie Art Gallery, Regina (2015); Galerie Hugues Charbonneau, Montréal (2015); and Art Gallery of Southwestern Manitoba, Brandon (2011). She has participated in group exhibitions and performances at Trestle Projects Brooklyn (2016); SITE Santa Fe Biennial (2016); Winsor Gallery, Vancouver (2016); A Space Gallery, Toronto (2015); Campo dei Gesuiti, Venice (2015); Aboriginal Art Centre, Ottawa (2015); The Bronx Museum, New York (2015); Vox Populi, Philadelphia (2015); Musée d’art contemporain des Laurentides, Saint Jérôme (2015); North Native Museum (NONAM), Zurich (2014); SBC Gallery of Contemporary Art, Montréal (2013); The Power Plant, Toronto (2013); and Vancouver Art Gallery (2012). Hupfield is founder of 7th Generation Image Makers, Native Child and Family Services of Toronto; Co-owner of Native Art Department International; and Assistant Professor in Visual Art and Material Practice appointed to the Faculty of Culture and Community, Emily Carr University of Arts and Design (2007-11).


Kat Griefen is an art historian, curator and private dealer and since 2011 has been the co-director and co-owner of Accola Griefen Fine Art in New York City. From 2006 until 2011 Ms. Griefen was the Director of A.I.R. Gallery, which was founded in 1972 as the first non-profit gallery for women artist in the United States. Since 2005 she has organized or curated more than 40 exhibitions, many that have been reviewed in publications including The New York Times, The New Yorker, New York Magazine, Art in America, ARTnews and the Brooklyn Rail among others.

She has been a Senior Lecturer in the Women & Gender Studies Department at Rutgers University, New Brunswick since 2011 and has also taught in the Graduate Program in Liberal Studies at Rutgers University, Camden.  Ms. Griefen is currently a Lecturer at Queensborough Community College (QCC) in the Art and Design Department where she manages the Gallery and Museum Studies program and is the Curator in Residence at the Kupferberg Holocaust Center (KHC). At the KHC she is co-organizing the 2018-2019 NEH Colloquium and 2019-2020 exhibition, Survivance & Sovereignty on Turtle Island, which focuses on engaging with Native American histories through Contemporary Native American art and culture with Danyelle Means. In 2017 she co-chaired the Feminist Art Project symposium Crossroads: Art + Native Feminism at the Museum of Art and Design as part of the College Art Association Annual conference with Juane Quick-to-See Smith and Maria Hupfield.  She has also organized special projects focuses on women artists at art fairs in New York City and in Los Angeles. Ms. Griefen is a Board Member of Arttable and is on the Advisory Board for A.I.R. Gallery, SOHO20, Spiderwoman Theatre and the Feminist Institute. She is a member of the Council for Feminist Art at the Brooklyn Museum, a National Committee Member of the Feminist Art Project, an Affiliated Society of CAA and is a founding member of New York City chapter of the Association of Women Art Dealer. She has a B.A. in Women Studies and in Art History from Purchase College, SUNY and an M.A. in Art History from Hunter College.

2016 – Washington, DC
Margo Hobbs and
Zoë Charlton

Margo Hobbs is Associate Professor of Art History at Muhlenberg College, where she teaches courses in modern and contemporary art. Her writing on art, gender, sexuality, and feminism has been published in Art History, n.paradoxa, Genders, and GLQ. She edited a special issue of the Journal of Lesbian Studies on lesbians and art in 2010. Her chapter The Blatant Image, Lesbian Identity, and Visual Pleasure” was included in the anthology Queer Difficulty in Art and Poetry: Rethinking the Sexed Body in Verse and Visual Culture (Routledge, 2017), edited by Jongwoo Jeremy Kim and Christopher Reed. Her current research interests include feminist photography and erotic art made by and for women. Margo earned her Ph.D. in Art History at Northwestern University, with her dissertation on female body imagery in the feminist art movement. She has an MA in Modern Art History, Theory, and Criticism from the School of the Art Institute of Chicago, and a BA in Liberal Arts from St. John’s College, Annapolis.


Zoë Charlton (Baltimore, MD)  creates drawings that explore the ironies of contemporary social and cultural stereotypes.  She depicts her subject’s relationship with their world by combining images of culturally loaded objects and landscapes with undressed bodies. She received her MFA degree from the University of Texas at Austin and participated in residencies at the Skowhegan School of Painting (Skowhegan, ME, 2001), Creative Alliance (Baltimore, MD, 2003), and Art342 (Fort Collins, CO, 2010). Her recent exhibitions include ConnerSmith. (Washington, DC, 2013), Delaware Center for the Contemporary Arts (Wilmington, DE, 2009), and Wendy Cooper Gallery (Chicago, IL, 2006).  Her work has been included in national and international exhibitions including the Harvey B. Gantt Center (Charlotte, NC, 2015), Crystal Bridges Museum of American Art (Bentonville, AR, 2014), Studio Museum of Harlem (NYC, NY, 2012), Contemporary Art Museum (Houston, TX, 2000), the Zacheta National Gallery of Art (Warsaw, Poland 2006), and Haas & Fischer Gallery (Zurich, Switzerland, 2006).  She is a recipient of a Pollock-Krasner grant (2012) and Rubys grant (2014) .  Charlton is an Associate Professor of Art at American University in Washington, DC.  She is represented by ConnerSmith, Washington D.C.

2015 – New York City
Damali Abrams, Jenn Dierdorf, and Kathleen Wentrack

Damali Abrams is a New York City based artist. She received her BA at New York University and her MFA at Vermont College of Fine Arts. Damili was a 2009-10 A.I.R. Gallery Fellowship recipient. Her work has been shown in New York, New Jersey, Philadelphia, Memphis, Savanna, New Orleans, Denver, and Miami. In New York City, her work has been exhibited at The Museum of Contemporary African Diasporan Art (MoCADA), A.I.R. Gallery, JCAL, Rush Arts Gallery and BRIC Rotunda Gallery, among others. Her work was included in the 2013 Bienial at El Museo del Barrio. She has presented her work or taught workshops at Borough of Manhattan Community College, SUNY Purchase, Barbados Community College, NYU Polytechnic School of Engineering, Hunter College School of Social Work, and Syracuse University’s 601 Tully. Abrams is one of the New York City Regional Coordinators for The Feminist Art Project. In 2013 she attended a dual residency with the organizations Fresh Milk in Barbados and Groundation Grenada. Abrams is one of the 2014 artist in residence at the The Center for Book Arts and recently completed an Apexart International Fellowship in Seoul, South Korea.


Jenn Dierdorf was born in Michigan City, Indiana in 1978. She received her B.F.A. in Sculpture from the University of Kansas and her M.F.A. from the University of Connecticut in 2008. She has been the recipient of several awards including the Hollander Family Foundation award, Daniel MacMorris Scholarship and in 2009 was named a Rema Hort Mann Foundation nominee. She has been the artist in residence at Virginia Center for Creative Arts, the Vermont Studio Center and others. Her work has been exhibited widely including Kathleen Cullen Fine Art, NYC, Lancaster Museum of Art, PA, Minnesota National Print Biennial at the University of Minnesota, MN, Art Space in New Haven, CT and Cindy Rucker Gallery in New York City.She has participated in numerous panels and public roundtables on various topics on contemporary art. Dierdorf is a member of ARTTABLE and the Committee for Women in the Arts at the College Art Association, as well as a coordinator for The Feminist Art Project. Dierdorf is the Co-Director of Fellowship and Development at A.I.R. Gallery and maintains a studio in Brooklyn, NY.


Kathleen Wentrack, Ph.D. is Associate Professor of Art History in the Department of Art & Design at the City University of New York, Queensborough. She holds a Master’s degree from the University of Amsterdam and a Ph.D. from the Graduate Center of The City University of New York. Kathleen’s recent publications include “What’s so Feminist about the ‘Feministische Kunst Internationaal’? Critical Directions in 1970s Feminist Art” in Frontiers, Fall 2012, and “Female Sexuality in Performance and Film: Erotic, Political, Controllable? The Contested Female Body in the Work of Carolee Schneemann and VALIE EXPORT,” May 2014 in Konsthistorisk Tidskrift. She is editing an anthology of women’s art collectives entitled Collaboration, Empowerment, and Change: Women’s Art Collectives. She has presented at conferences in the United States and Europe, and received a Getty Research Institute Research Library Grant. Kathleen has served on the Committee on Women in Art of the College Art Association and is Co-Coordinator of The Feminist Art Project in New York.

2014 – Chicago
Jennie Klein and Myrel Chernick

Jennie Klein‘s primary areas of research lie in contemporary art, art criticism, feminist art, and performance art. She is a contributing editor for Art Papers and a member of the editorial board of Genders. She has published in Feminist Studies, Art Pulse, PAJ, n.paradoxa, Art History, New Art Examiner, and Afterimage. Jennie is the co-editor, along with Deirdre Heddon of the University of Glasgow, of Histories and Practices of Live Art (Palgrave McMillan, 2012) and, along with Myrel Chernick, The M Word: Real Mothers in Contemporary Art (Demeter Press, 2011). She has published articles in several anthologies, including West of Center (Minnesota) and Entering the Picture (Routledge).


Myrel Chernick is a writer and artist working in video, photography and installation. Recent screenings include Tanya/Sam 17 at the Greenpoint Film Festival and Democrascope in Montreal and Hong Kong. Chernick has shown her text-based multimedia installations nationally and internationally, lectured widely and edited The M Word: Real Mothers in Contemporary Art with Jennie Klein. She is currently writing and illustrating a hybrid novel that takes place in Paris and New York.

2013 – Brooklyn
Catherine Morris

Catherine J. Morris is the Sackler Senior Curator for the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum where, since 2009, she has curated and co-curated numerous exhibitions including We Wanted a Revolution: Black Radical Women, 1965-1985; Judith Scott-Bound and Unbound; and Materializing Six Years: Lucy R. Lippard and the Emergence of Conceptual Art (which won an AICA award for best Thematic Exhibition). She has worked on projects examining contemporary practices through historical precedents, including the museum wide Sackler Center ten year anniversary project, The Year of Yes: Reimagining Feminism at the Brooklyn Museum and Agitprop!. She has worked on exhibitions and curatorial projects with Ahmed Mater, Beverly Buchanan, Marilyn Minter, Zanele Muholi, Suzanne Lacy, Matthew Buckingham, Lorna Simpson, Eva Hesse, Kiki Smith and Rachel Kneebone and produced historical exhibitions such as Twice Militant: Lorraine Hansberry’s Letter to The Ladder, Newspaper Fiction: The New York Journalism of Djuna Barnes, 1913-1919, Seductive Subversions: Women Pop Artists, 1958-1968, and Healing the Wounds of War: The Brooklyn Sanity Fair of 1864.

Previously an independent curator, Morris organized, among other projects, Decoys, Complexes and Triggers: Women and Land Art in the 1970s at SculptureCenter, Hans Hoffman, 1950 at the Rose Museum at Brandeis University, New York; 9 Evenings Reconsidered: Art, Theatre and Engineering, 1966 for the List Visual Arts Center, MIT, Cambridge, Massachusetts; two exhibitions, Gloria: Another Look at Feminist Art of the 1970s and Food at White Columns, New York and GAAG: The Guerrilla Art Action Group, at Printed Matter, New York.

2012 – Los Angeles
Elana Mann and Audrey Chan

Audrey Chan is a Los Angeles-based artist, writer, and educator whose work addresses civic discourse, rhetoric, and the feminist construct of “the personal is political.” She received a BA with Honors in Studio Art and Political Science from Swarthmore College and an MFA from the Program in Art at California Institute of the Arts. Chan co-organized Exquisite Acts & Everyday Rebellions: 2007 CalArts Feminist Art Project, a collective and inter-generational investigation of contemporary feminist art practice, including a symposium and exhibition ( In 2009, she was an artist-in-residence at the École Régionale des Beaux-arts de Nantes in France. Based on this experience, she published her first book, Conseil juridique et artistique / Legal and Artistic Counsel (2011), which explores the relationship between art and politics in French law. Her projects have been reviewed in the Los Angeles Times, New York Sun, Artweek, The Chronicle of Higher Education, and the OC Weekly. Her writing has appeared in East of Borneo, Afterall Online, …might be good, Art21 Blog, and the Getty Iris blog. She currently teaches art history at the J. Paul Getty Museum.


Elana Mann (b. 1980, Boston, MA) brings a greater consciousness to the listening and speaking we practice in everyday life. She has presented her artwork in city parks, museums, galleries, and buses including: the Museum of Contemporary Art, San Diego; Commonwealth & Council, Los Angeles; Ben Maltz Gallery, Otis College of Art and Design, Los Angeles; REDCAT, Los Angeles; The Ford Foundation, New York; The Hirshhorn Museum and Sculpture Garden, Washington D.C.; A Gentil Carioca, Rio de Janeiro, Brazil; The Getty Villa, Los Angeles; LA Metro Freewaves project; Montalvo Arts Center, Saratoga, CA; and the Lu Xun Academy of Fine Arts, Shenyang, China. She is involved with numerous collaborative/collective endeavors and most recently organized “Chats About Change” with Robby Herbst, a series of grass-roots conversations with artists involved in creative social change. She is a recipient of awards from the California Community Foundation, the Center for Creative Innovation, the Rema Hort Mann Foundation and the Foundation for Contemporary Arts. In 2017 she was recognized as a Cultural Trailblazer by the City of Los Angeles and was the 2017-18 artist-in-residence at Pitzer College’s Ceramics Department. Her projects have been covered by Artforum, the Los Angeles Times, LA Weekly, NPR, O Globo, El País, La República, and X-Tra Magazine, among others. Her writing has been published in periodicals and books such as Afterall journal, Art 21, and In the Canyon, Revise the Canon. She received her BFA with honors from Washington University in St. Louis, St. Louis, MO and her MFA from California Institute of the Arts, Valencia, CA.

2011 – New York City
Johanna Burton and Julia Bryan-Wilson

Johanna Burton was appointed Director of the Graduate Program at the Center for Curatorial Studies, Bard College in July 2010; she is a New York-based art historian and critic and has written extensively on postwar and contemporary art for numerous publications, including Artforum, Parkett, and Texte zur Kunst; and she is the editor of Cindy Sherman (2006), a collection of critical essays on the artist for MIT Press’s October Files series. Burton’s other recent writings include texts on the women-only art magazine Eau de Cologne (published in Witness to Her Art, eds. Rhea Anastas and Michael Brenson, Center for Curatorial Studies, 2006) and Lee Lozano (on the occasion of the artist’s inclusion in an exhibition curated by Helen Molesworth at the Wexner Center in Columbus, Ohio, in Spring 2008); and she has written catalogue essays for career survey exhibitions of Dara Birnbaum, Mel Bochner, and Mary Heilmann. Upcoming publications include a major essay on Cindy Sherman for that artist’s retrospective at MoMA in 2012; and a text surveying theories of identity in relation to art practices of the 1980s for Helen Molesworth’s exhibition, “This Will Have Been: Art, Love, and Politics in the 1980s,” which will open at the MCA Chicago in February 2012. Burton is co-curator (with Elisabeth Sussman) for the Whitney Museum’s survey exhibition of Sherrie Levine, opening Fall 2011; and she is currently working with Anne Ellegood on a large-scale show examining legacies of institutional critique, to open at the Hammer Museum in Los Angeles in 2013. She was Associate Director and Senior Faculty Member at the Whitney Independent Study Program in New York from June 2008-July 2010.


Julia Bryan-Wilson is associate professor of modern and contemporary art history at UC Berkeley. Her writing has appeared in the Art Bulletin, Artforum, Art US, Art Journal, Bookforum, Cabinet, Camera Obscura, Frieze, Modern Painters, and Oxford Art Journal; in 2007 she became an inaugural winner of the Creative Capital/Andy Warhol Foundation Arts Writers Grant. She has written catalog essays for artists such as Ida Applebroog, Helen Mirra, and Francesca Woodman, and her  art criticism focuses primarily on feminist, queer, and collective work. Her book, Art Workers: Radical Practice in the Vietnam War Era, which examines questions of artistic labor in the late 1960s and1970s in New York, was published in fall 2009 by the University of California Press. Her most recent research investigates the politics of handmaking since 1970.

2010 – Chicago
Maria Elena Buszek

Maria Elena Buszek is Associate Professor of Art History at the University of Colorado Denver, where she teaches courses on Modern and contemporary art. Her recent publications include the books Pin-Up Grrrls: Feminism, Sexuality, Popular Culture and Extra/ordinary: Craft and contemporary art; contributions to the anthologies Punkademics and It’s Time for Action (There’s No Option): About Feminism; and the exhibition catalogs Mark Mothersbaugh: Myopia and In Wonderland: The Surrealist Adventures of Women Artists in Mexico and the United States. She has also contributed articles and criticism to scholarly journals such as Art Journal and TDR: The Journal of Performance Studies, and has been a regular contributor to the popular feminist magazine BUST since 1999. In 2019, her anthology (edited with Dr. Hilary Robinson) A Companion to Feminist Art and Theory will be published by Wiley-Blackwell. Dr. Buszek’s current book project explores the ties between contemporary feminist art and popular music.

2008 – Chicago
Susan Fisher Sterling and Dena Muller

Susan Fisher Sterling, Director of the National Museum of Women in the Arts (NMWA) in Washington, D.C., has built her career and the stature of the museum around the message of equity for women through the example of excellence in the arts. When she signed on as associate curator of the new museum in 1988, she had just graduated from Princeton University with a master’s and PhD in art history, specializing in modern and contemporary art. As the museum’s curator and chief curator for 20 years, she produced exhibitions and publications on a range of contemporary women artists, including well-received international shows focused on the art of Brazil and postmodern photography.


Dena Muller specializes in project management services for artists and organizations. Clients include Faou Foundation/Mariko Mori Studio, the Feminist Institute/Google Arts & Culture, For Freedoms/Hank Willis Thomas Studio, Slave Rebellion Reenactment/Dread Scott, Spiderwoman Theater, and the Laundromat Project. Muller was previously a director at CUE Art Foundation, NYFA, ArtTable, and A.I.R. Gallery. Muller is developing the Living Trust for the Arts, a professional services and legacy-planning platform for visual artists.

2007 – NYC & 2009 – Los Angeles
Anne Swartz

Anne Swartz is a professor of Art History at the Savannah College of Art and Design. She focuses on contemporary art, especially feminist artists, critical theory, and new media/new genre, in her writing, curating, and public lectures. Her main focus has been to support and advance innovative and transgressive work of both emerging and established artists whose art has not been fully examined. She’s currently co-editing The Question of the Girl with Jillian St. Jacques and completing Female Sexualities in Contemporary Art, a collection of her essays, and The History of New Media/New Genre: From John Cage to Now, a survey of developments in recent art.