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DTSTART;TZID=America/New_York:20211013T160000
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DTSTAMP:20260426T143100
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SUMMARY:Virtual | Annual Leadership Series - The Precarious Position of Women in Leadership
DESCRIPTION:1pm PT / 2pm MT / 3pm CT / 4pm ET\nWomen-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.  \nDespite 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).  \nFor 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? \nPlease 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: \n\nWhat 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?\nHow do we advocate for women leaders from racially\, ethnically\, and socio-economically diverse backgrounds and reach greater gender parity in leadership roles? \nThe 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? \nWhat lessons have we learned\, and how can we ensure lasting change?\n\nThe panel will be moderated by Stephanie A. Stebich\, Director of the Smithsonian American Art Museum in Washington\, DC. Additional speakers include: \n\nMin Jung Kim\, Director\, Saint Louis Museum of Art\, St. Louis\, MO\nDorothy Kosinski\, Vradenburg Director and CEO of The Phillips Collection\, Washington DC\nMia Locks\, Independent Curator and Culture Worker\, Los Angeles\, CA\nDanyelle Means\, Executive Director\, Center for Contemporary Arts\, Santa Fe\, NM\nBrittany Webb\, Evelyn and Will Kaplan Curator of 20th-Century Art & the John Rhoden Collection\, Pennsylvania Academy of Fine Art\, Philadelphia\, PA\n\nPlease 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. \nAdmission \n\nArtTable Members – $10 (ArtTable members may bring a guest for an additional $15)\nNon-Members – $25\n\nNot an ArtTable member? Join today! \n \n  \nCan’t make the program at this time? Register anyway to receive a recording after! \nAccessibility: Automatic closed captioning will be available for this program. Please email programs@arttable.org if you require additional accommodations. \n\nAbout the Speakers\nStephanie 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. \nBefore 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. \nStebich 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. \nStebich 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. \nMin 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. \nDr. 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. \n \nMia 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. \n  \n\nDanyelle 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. \n\n \nDr. 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). \n  \n\nImages:  \n\nStephanie A. Stebich\, The Margaret and Terry Stent Director\, Smithsonian American Art Museum; Photo credit: Smithsonian American Art Museum\nMin Jung Kim\, Photo by Tim Parker\nDorothy Kosinski\, Photo by Daniel Schwartz\nMia Locks © 2016 Scott Rudd; www.scottruddevents.com; scott.rudd@gmail.com\nDanyelle Means\nBrittany Webb
URL:https://www.arttable.org/event/virtual-arttables-annual-leadership-series-with-stephanie-a-stebich-2021/
LOCATION:Zoom
CATEGORIES:National
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DTSTART;TZID=America/Los_Angeles:20211027T120000
DTEND;TZID=America/Los_Angeles:20211027T130000
DTSTAMP:20260426T143100
CREATED:20210924T170154Z
LAST-MODIFIED:20211005T194338Z
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SUMMARY:Virtual | Marcela Guerrero & Daisy Nam on Donna Huanca's exhibition at Ballroom Marfa
DESCRIPTION:9am PT / 10am MT / 11am CT / 12pm ET\nPlease join Marcela Guerrero\, Jennifer Rubio Associate Curator at the Whitney Museum of American Art\, and Daisy Nam\, Curator at Ballroom Marfa\, for a discussion on Donna Huanca’s exhibition ESPEJO QUEMADA\, on view at Ballroom Marfa through January 22\, 2022. The two will also discuss Guerrero’s work on influential recent exhibitions of contemporary art from Latin America\, including the exhibitions Pacha\, Llaqta\, Wasichay: Indigenous Space\, Modern Architecture\, New Art at the Whitney Museum of American Art and Radical Women: Latin American Art\, 1960-1985 at the Hammer Museum. \nDonna Huanca presents a series of new works commissioned by Ballroom Marfa in her exhibition ESPEJO QUEMADA. Huanca creates experiential installations that incorporate paintings\, sculptures\, video\, scent and sound. The profound experiences and memories of Huanca’s first visit to Marfa in 2005 inspired the work in the exhibition. The artworks draw on visual\, cultural\, and mythological cues informed by feminism\, decolonialism and the artist’s personal and familial histories\, while simultaneously engaging with the biodiversity\, geology\, and dark skies of Far West Texas. The sky was particularly striking for Huanca–animated with cosmic and extraterrestrial forces while also revealing the natural rhythms of the sun and moon. \nESPEJO QUEMADA\, Huanca’s first exhibition since the pandemic\, uses mirrors as formal and metaphorical devices to respond to changing conditions. The title\, which translates to “burnt mirror” in English and is purposefully feminized in Spanish\, alludes to Huanca’s feminist praxis. “Espejo Quemada” suggests reflections of the current moment\, portals to the past and future\, and catalysts for combustion and change. Click here to read more about the exhibition! \nAdmission \n\nArtTable Circle Members– Free\nAll other ArtTable Members – $10\nNon-Members – $15\nMembers may bring a guest for an additional $5.\n\nNot an ArtTable member? Join today! \n  \n \n  \nAccessibility: Please note that live closed captioning will be available for this program. Please email programs@arttable.org if you require additional accommodations.  \n\nAbout the Speakers\nMarcela Guerrero is the Jennifer Rubio Associate Curator at the Whitney Museum of American Art\, New York. Recently\, she was part of the curatorial team that organized Vida Americana: Mexican Muralists Remake American Art\, 1925-1945. In summer 2018\, Guerrero curated the exhibition Pacha\, Llaqta\, Wasichay: Indigenous Space\, Modern Architecture\, New Art. From 2014 to 2017 she worked as Curatorial Fellow at the Hammer Museum in Los Angeles\, where she was involved in the much-lauded exhibition Radical Women: Latin American Art\, 1960-1985\, organized as part of the Getty Foundation’s Pacific Standard Time: LA/LA initiative and guest-curated by Cecilia Fajardo-Hill and Andrea Giunta. Prior to her position at the Hammer\, she worked in the Latin American and Latino Art Curatorial department at the Museum of Fine Arts\, Houston (MFAH) where she served as Research Coordinator for the International Center for the Arts of the Americas (ICAA). Guerrero’s writing has appeared in a variety of publications and has contributed articles to numerous exhibition catalogues. Born and raised in Puerto Rico\, Guerrero received her BA from the University of Puerto Rico\, Rio Piedras Campus\, and holds a Ph.D. in Art History from the University of Wisconsin-Madison. \nDaisy Nam is the curator at Ballroom Marfa\, a contemporary art space located at the borderlands of Far West Texas. She recently co-edited a publication\, Best! Letters from Asian Americans in the arts with Paper Monument. Previously from 2015–19\, she was the assistant director at the Carpenter Center for the Visual Arts\, Harvard University where she organized exhibitions\, publications\, and public programs working closely with artists to engage with the campus community and public at large. Prior\, she curated and produced seven seasons of talks\, screenings\, performances\, and workshops from 2008–2015 as the assistant director of public programs at the School of the Arts\, Columbia University. Curatorial residencies and fellowships include: Marcia Tucker Senior Research Fellow at the New Museum\, New York (2020); Bellas Artes\, Bataan\, Philippines (2020); Surf Point in York\, Maine (2019); Gwangju Biennale Foundation\, Korea (2018). She holds a master’s degree in Curatorial and Critical Studies from Columbia University and a bachelor’s degree in Art History and Cinema Studies from New York University. She has taught at RISD\, and lectured at Lesley University\, Northeastern\, SMFA/Tufts\, SVA as a visiting critic. \n  \nAbout Ballroom Marfa\nBallroom Marfa is an internationally recognized non-collecting contemporary art museum located in Marfa\, a rural town of less than 2\,000 people in Far West Texas. Established in 2003 by Virginia Lebermann and Fairfax Dorn\, the contemporary art and performance space is housed in a 1920s-era ballroom and is free and open to the public. With generous support from individuals and foundations\, Ballroom commissions new site-specific and site-inspired projects and gives artists and musicians the opportunity to engage with the magnificent landscape of the Big Bend. Read more about Ballroom Marfa here. \nThis program is presented in collaboration with Ballroom Marfa.\nPublic programs for ESPEJO QUEMADA are generously supported by Humanities Texas. \n                \n\nImages: \n\nInstallation view\, SCRYING CON DIOS(A)\, 2021\, in Donna Huanca: Espejo Quemada\, June 26\, 2021–January 2\, 2022\, Ballroom Marfa. Courtesy the artist and Ballroom Marfa. Photograph by Makenzie Goodman.\nMarcela Guerrero\, Photo by Javier Romero\nDaisy Nam
URL:https://www.arttable.org/event/virtual-conversation-daisy-nam-marcela-guerrero-donna-huanca-espejo-quemada/
LOCATION:Zoom
CATEGORIES:National,Northern California
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DTSTART;TZID=America/New_York:20211028T120000
DTEND;TZID=America/New_York:20211028T120000
DTSTAMP:20260426T143100
CREATED:20211013T182851Z
LAST-MODIFIED:20211014T210711Z
UID:7015-1635422400-1635422400@www.arttable.org
SUMMARY:Virtual | A Brief History of Digital Art\, Before and Beyond NFTs\, with Dr. Tina Rivers Ryan
DESCRIPTION:9am PT/ 10am MT / 11am CT / 12pm ET\nIf you’re curious to know more about the history of digital art before and beyond NFTs\, join Dr. Tina Rivers Ryan as she offers a brief survey of digital art since the 1960s. Her talk will emphasize digital art’s major artists\, practices\, and themes\, as well as the evolution of its relation to traditional arts institutions\, such as galleries and museums. \nNFTs have brought digital art into the spotlight\, but they also have cast a long shadow over the decades-long history of digital art that preceded them. Even the artistic projects that were made with and about blockchain technologies just five years ago seem to have been erased in the rush to hail this “revolutionary” development in contemporary art. \nAdmission \n\nArtTable Circle Members– Free\nAll other ArtTable Members – $5\nNon-Members – $15\nMembers may bring an additional guest for $5\n\nNot an ArtTable member? Join today! \nCan’t make the program at this time? Register anyway to receive a recording after! \n  \n \n  \nAccessibility: This program will offer automatic closed captioning services. If you require additional accommodations\, please email programs@arttable.org. \n\nAbout Dr. Tina Rivers Ryan\nTina Rivers Ryan is an Assistant Curator of modern and contemporary art at the Albright-Knox Art Gallery in Buffalo\, New York. Most recently\, she co-curated the exhibition Difference Machines: Technology and Identity in Contemporary Art\, which opened October 16th and runs through January 16th\, 2022. An art historian by training\, Ryan is a specialist in the history of art and technology since the 1960s and has written extensively on topics ranging from kinetic light environments to virtual reality. Over the past decade\, her work has appeared in publications from museums such as The Met\, the Walker Art Center\, and Pirelli HangarBicocca. She also is an active critic for Artforum; her essay on NFTs\, “Token Gesture\,” appeared in its May 2020 issue. Ryan holds five degrees in art history\, including a BA from Harvard and PhD from Columbia. \n\nThank you to Regan Lynn Larroque\, Programs Committee Co-Chair for ArtTable’s New York Chapter\, for organizing this program. \n\nImages: \n\nFrame from Chris Torres’s Nyan Cat\, 2011\, GIF.\nTina Rivers Ryan
URL:https://www.arttable.org/event/virtual-a-brief-history-of-digital-art-with-tina-rivers-ryan/
LOCATION:Zoom
CATEGORIES:New York,National
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