To pursue its mission, the Institute will create a study center for the preservation, expedient cataloguing, and digitization of primary research materials for direct study and free online public access to these resources.
JENNIFER GROSS (Executive Director) is an art historian and curator who came to the Institute from deCordova Sculpture Park and Museum in Massachusetts, where she was the Chief Curator and Deputy Director of Curatorial A airs. Previous to her work at deCordova, Gross was the Curator of Modern and Contemporary Art at the Yale University Art Gallery, the Curator of Contemporary Art at the Isabella Stewart Gardner Museum, and the Founding Director of the Institute of Contemporary Art at Maine College of Art. Her curatorial projects have included Expanding Abstraction: New England Women Painters; Edward Steichen: Twentieth-Century Photographer; Drawing Redefined: Roni Horn, Esther Kläs, Joëlle Tuerlinckx, Richard Tuttle, and Jorinde Voigt; Ian Hamilton Finlay: Arcadian Revolutionary and Avant-Gardener; Richard Artschwager! and The Société Anonyme: Modernism for America. She has also written extensively on contemporary art, including the work of Richard Tuttle, Kristin Baker, Roni Horn, Josiah McElheny, Thomas Nozkowski, Jim Nutt, Richard Rezac, and Rachel Whiteread.
Biographies of Advisory Board
MARTINA DROTH is Deputy Director of Research, Exhibitions, and Publications, and Curator of Sculpture at the Yale Center for British Art, chair of the Association of Research Institutes in Art History, and co-editor of British Art Studies, a peer-reviewed online journal. Droth’s research focuses on nineteenth- and twentieth-century British sculpture, with an emphasis on interdisciplinary practice. Her exhibitions have included Things of Beauty Growing: British Studio Potery, co-curated with Glenn Adamson and Simon Olding, Sculpture Victorious: Art in an Age of Invention, 1837–1901, Caro: Close Up, and Taking Shape: Finding Sculpture in the Decorative Arts.
DARBY ENGLISH is the Carl Darling Buck Professor in the Department of Art History at the University of Chicago, where he teaches courses in modern and contemporary American and European art and cultural studies. English is associate faculty in the Department of Visual Arts and the Center for the Study of Race, Politics, and Culture. Since 2014, he has served as Adjunct Curator in the Department of Painting and Sculpture at the Museum of Modern Art. He is the author of How to See a Work of Art in Total Darkness, 1971: A Year in the Life of Color, and To Describe a Life: Notes at the Intersection of Art and Race Terror.
CHARLES GAINES has since the 1970s earned wide respect and recognition for conceptually driven art spanning photography, drawing, music, and installation. Gaines’s projects include his text-based as well as grid-based works. His celebrated grid-based work is produced by both subdividing and layering images and forms following a process that adheres to and undermines a set of rules in order to explore issues around race and systems of representation. His work has been exhibited extensively, including at the Studio Museum in Harlem and the Hammer Museum in Los Angeles, which presented a major survey, Charles Gaines: Gridwork 1974–1989 in 2014/15, and as part of the exhibition Solidary & Solitary: The Joyner/Giuffrida Collection, which will appear at several museums, including the Baltimore Art Museum and the Berkeley Art Museum and Pacific Film Archive, through 2020. In November, an exhibition of Gaines’s work will open at Galerie Max Hetzler in Berlin, and 2019 will see his first exhibition with Hauser & Wirth, in Los Angeles. Gaines’s work is in the collections of the Studio Museum in Harlem, the Museum of Modern Art, and the Whitney Museum of American Art.
JOAN JONAS is a multimedia artist whose work was foundational to the performance art movement of the 1960s and laid the groundwork for the emergence of video art in the 1970s. Frequently combining elements of theater, dance, installation, projection, drawing, and sound, Jonas has explored female identity, the subjectivity of perception, and the formal boundaries of media. Jonas’s work has been exhibited around the world, with retrospectives at the Queens Museum of Art, New York; Stadtsgalerie Stuttgart, Stuttgart; Van Abbemuseum, Eindhoven; and Stedelijk Museum, Amsterdam, and, most recently, a major solo exhibition at Tate Modern in London. In 2015, she represented the United States at the 56th Venice Biennale. She is the recipient of numerous awards, including the 2018 Kyoto Prize for Art, and is the subject of the Joan Jonas Knowledge Base, an archive initiative of New York University.
DAVID JOSELIT is Distinguished Professor of Art History at the Graduate Center, City University of New York, and an editor of October. His research, writing, and criticism on modern and contemporary art explore theories surrounding the circulation of images in an age of expanding media and increasing globalization. Joselit was curator of ICA Boston from 1983 to 1989. He is the author of After Art, Feedback: Television Against Democracy, American Art Since 1945, and Infinite Regress: Marcel Duchamp 1910–1941, and was a co-curator of Painting 2.0: Expression in the Information Age at the Museum Brandhorst in Munich. His forthcoming book, Heritage and Debt: Art in Globalization, will be released in 2020.
ZOE LEONARD has since the 1980s used photography, sculpture, and installation to illuminate the remarkable in the mundane, and to question the nature and politics of subjective experience. Her work has been exhibited widely, including at the Museum of Modern Art, Fotomuseum Winterthur, the Wexner Center for the Arts, Chinati Foundation, Dia:Beacon, Documenta IX and XII, and in several Whitney Biennials. This year, Leonard is the subject of a mid-career retrospective that originated at the Whitney Museum of American Art and opened at the Museum of Contemporary Art, Los Angeles, in November. Leonard will also participate in the Carnegie International, 57th Edition, where she will present a new body of work.
BARRY ROSEN is a curatorial consultant and advisor to Ida Applebroog and the estates of Eva Hesse, Allan Kaprow, Lee Lozano, and Dieter Roth. He was on the founding staff of the New Museum and in the course of his career has contributed to the realization of several significant exhibitions, including Eva Hesse: A Retrospective,
curated by Helen A. Cooper at the Yale University Art Gallery, and Eva Hesse, organized by Dr. Renate Petzinger and Elisabeth Sussman and on view at the San Francisco Museum of Art, Museum Wiesbaden, and Tate Modern. Rosen was the editor of Chihuly on Paper and Eva Hesse Diaries, and, with Petzinger, the co-editor of the two-volume catalogue raisonné of Eva Hesse’s paintings and sculpture. Rosen has been actively involved in several arts initiatives including an arts education program for elders in Seattle and a glassblowing studio for at-risk youth in Tacoma, WA, and on the Taos Pueblo. He is currently the board Chair of the Active Citizen Project, an urban farming program for low-income New Yorkers.
DIETER SCHWARZ is an independent author and curator. From 1985 to 1990, he was Curator of Kunstmuseum Winterthur in Switzerland, and from 1990 to 2017, he served as the museum’s Director. He has organized numerous important exhibitions on modern and contemporary art, with a focus on recent German, Italian, and American work, including Roni Horn: Rare Spellings, Marisa Merz, Brice Marden: Work Books, Vija Celmins, Thomas Schütte, Luciano Fabro, Gerhard Richter: Stripes and Glass, Fred Sandback: Drawings, Richard Tu le: Kalliroos, Joel Shapiro: Floor Wall Ceiling, and Richard Hamilton: Exteriors, Interiors, Landscape, People. Schwarz has written extensively on such artists as Robert Ryman, Robert Mangold, Gerhard Richter, Marcel Broodthaers, Richard Artschwager, and Agnes Martin. He sits on the Board of the Thomas Schütte Stiftung, the Fondation Félix Vallotton, and the Fondation Mattioli Rossi.
FRANCINE SNYDER is the Director of Archives and Scholarship at the Robert Rauschenberg Foundation, and specializes in artists’ archives and archive collections found in museums and art centers. Prior to joining the Rauschenberg Foundation in 2015, she was Director of the Library and Archives at the Guggenheim Museum, where she led an assessment and reorganization of the museum’s library and archival resources. Her professional activities include serving on committees within the Society of American Archivists (SAA), SAA Museum Archives Section, Metropolitan New York Library Council, Art Libraries Society of North America, and New York City Digital Art History, and presenting nationally and internationally on artist’s archives and fair use. Snyder is a 2014 Archives Leadership Institute cohort.
Courtesy to Hauser & Wirth Institute
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