Julien Bismuth is an artist and writer who currently lives and works in New York. His work has been exhibited widely, including at the Palais de Tokyo in Paris, the Kunsthalle Wien in Vienna, and the Solomon R. Guggenheim Museum in New York. Bismuth is also the co-founder of Devonian Press with Jean-Pascal Flavien, and the author of A cover to cover (uncover) and Pages with Motto Press in Berlin. Upcoming projects include participation in the 2018 Cuenca Biennale as well as solo project at the Nomas Foundation in 2019.
Allison Brant has been the director of The Brant Foundation Art Study Center since its opening in 2009. As a dedicated advocate for arts education, Allison has established the Foundation as a leading educational institution in the community through its bi-annual exhibitions and extensive public programming – including workshops, lectures, and publications. For nearly a decade, she has coordinated and co-curated a multitude of exhibitions, including the Foundation’s inaugural exhibition Remembering Henry’s Show: Selected Works 1978-2008, in addition to overseeing the advancement of the Brant collection. Allison works closely with exhibiting artists to ensure that their visions are fulfilled, furthering The Brant Foundation’s mission to comprehensively support contemporary artists. She also manages the Foundation’s loan program, promoting contemporary art accessibility by making significant works available to institutions across the world.
Francesca Esmay joined the Guggenheim Museum staff in 2010 to co-lead the Panza Collection Initiative. The PCI is a multiyear research project funded by the Andrew W. Mellon Foundation that addresses the long-term preservation and future exhibition of Minimalist, Post-Minimalist, and Conceptual art that the museum acquired from Italian collectors Giovanna and Giuseppe Panza di Biumo in 1991 and 1992. Esmay came to the Guggenheim from Dia Art Foundation in New York, where she served from 2006 to 2010 as the organization’s first conservator and initiated a comprehensive program for conservation and collections care. From 2001 to 2006, she worked in a similar capacity as the first conservator at the Chinati Foundation in Marfa, Texas, overseeing conservation and collections care for the museum’s permanent collection and temporary exhibitions.
Anja Foerschner is an art historian and curator based in the Netherlands. Originally trained as a visual artist, she holds a Master’s degree in Art Pedagogy, Art History, and Philosophy (2008) and a PhD in art history from Ludwig-Maximilians-University in Munich (2011). Her research encompasses modern and contemporary art with special emphasis on performance art from Los Angeles and former Yugoslavia, Feminist Art, the human body in contemporary art and culture, and the emotion of disgust in art. She has worked at the Haus der Kunst, Munich, and, from 2012-2018 at the Getty Research Institute in Los Angeles. She is currently heading a research project on the documentation and archiving strategies of feminist performance artists from the 1960s to the present. In addition, she is working on a book manuscript on female and feminist agency in the arts of former Yugoslavia, 1970-2017.
Christy MacLear is Vice Chairman at Art Agency Partners, a subsidiary of Sotheby’s, focused on creating an advisory practice for artists, estates and foundations. She was the first CEO of the Robert Rauschenberg Foundation and the founding Executive Director of the Philip Johnson Glass House, giving her deep expertise in legacy planning for artwork use, foundation start-ups and museum sites. Christy has a BA from Stanford University and an MBA from the University of Pennsylvania’s Wharton School. She serves on the Board of Trustees for Stanford University and is Chairman of the Board of the Municipal Art Society of New York.
Eleonora Nagy is the principal conservator of the New York based Modern Sculpture Conservation LLC. She is specialized for the treatment of modern and contemporary three-dimensional works of art, with a special interest in minimalism, modern metals and Alexander Calder. Her book entitled: Donald Judd’s Metals, The Artist’s Materials will come out later this year. She also serves as the Research Conservator at the Whitney Museum of American Art.
Steven O’Banion is the Director of Conservation at Glenstone Museum, responsible for comprehensively addressing the preservation needs of Glenstone’s collection. Steven received a BA from Middlebury College and a MS from the Winterthur/University of Delaware Program in Art Conservation. Steven has completed graduate and post-graduate placements at the Smithsonian American Art Museum, the Tate, the Museum of Modern Art and the Hirshhorn Museum and Sculpture Garden.
Marc Payot, Partner and Vice President of Hauser & Wirth, oversees the gallery's activities in America. Payot joined the gallery in Zurich as Director in 2000 and relocated to New York City four years later to establish its American presence. Since opening the gallery's first space in a historic Upper East Side townhouse in 2009, Payot has overseen the creation of two temporary spaces in Chelsea as well as the development of Hauser & Wirth’s first purpose-built gallery building, and continues to work intensively with the gallery's artists and estates and guide a robust program of exhibitions, events, publications, and art fairs.
Derek was head of Sculpture Conservation at the Tate Gallery for 30 years and is now co-director with co-author Jackie Heuman of their own company specialising in the conservation of modern and contemporary sculpture. A graduate of The Royal College of Art, he is a fellow of the International Institute of Conservation and a trustee of the Cass Sculpture Foundation and the Public Monument and Sculpture Association in the UK.
Jeannette Redensek is preparing the catalogue raisonné of the paintings of Josef Albers, which will document over 3,500 works made by the artist, including all panel paintings, paintings on paper, and glass paintings. She is the author of several essays on Albers’s studio practices, including “On Josef Albers’s painting materials and techniques,” in Josef Albers: medios mínimos, efecto máximo, Fundación Juan March, Madrid, 2013; and the forthcoming “Farbenfabeln: über den Ursprung und die Entwicklung der Huldigung an der Quadrat”, in Josef Albers: Interactions, Villa Hügel Essen, summer 2018. Prior to joining the Albers Foundation, she worked for several years at the San Francisco Museum of Modern Art, where she benefited greatly from the knowledge of colleagues in that museum’s conservation department. She received her Ph.D. in the history of architecture and urbanism from the Graduate Center of the City University of New York, and was a fellow in the Berlin Program for Advanced German and European Studies at the Freie Universität Berlin.
David Reed is a Californian who lives and works in New York. His most recent exhibition was Painting Paintings (David Reed) 1975, curated by Katy Siegel and Christopher Wool. The show originated at the Rose Art Museum, Brandeis University, Waltham, Massachusetts, and travelled to Gagosian, New York, and 356 South Mission Road, Los Angeles.
Anne Reeve is Associate Curator at Glenstone Museum. There she has overseen the recent installation of Jason Rhoades’s Black Pussy, and the accompanying publication developed to mark its opening as part of the larger Glenstone expansion in late 2018. Since 2009 she has also supervised Glenstone’s Artist Oral History program, to date conducting interviews with over forty artists whose works are part of the Museum’s collection.
Rachel Rivenc has been part of the Modern and Contemporary Art Initiative within the Getty Conservation Institute since 2007. She is currently in the Collections department where she oversees the dissemination, training and research activities related to Modern and Contemporary Art. Prior to that Rachel was part of the Science department where she led two projects: Outdoor Sculpture and Art in L.A. She is coordinator for the Modern Materials and Contemporary Art working group of ICOM-CC. Rachel holds a master's degree in paintings conservation from Paris I- Sorbonne and received her PhD from the Université de Versailles Saint-Quentin-en-Yvelines. She recently published the book Made in Los Angeles: Materials, Processes, and the Birth of West Coast Minimalism.
Andrea Rosen opened Andrea Rosen Gallery in 1990 with a seminal exhibition of Felix Gonzalez-Torres, and has for more than 28 years advocated for some of the most important artists of our time. Through its representation of significant artists and estates and its organization of challenging exhibitions and programs, the gallery has strived to be conceptually rigorous, fully aware of its responsibilities, and unafraid to meaningfully engage with contemporary social and political contexts. Today, Andrea Rosen Gallery is focused on site-specific projects and non-object-based art and performance, representing Felix Gonzalez-Torres as well as other artists like Tetsumi Kudo.
Virginia Rutledge is an art historian and attorney. Formerly a curator for the Los Angeles County Museum of Art, a litigator at Cravath, Swaine & Moore LLP, and the Vice President and General Counsel of the nonprofit Creative Commons, she is now in private practice focusing on the contemporary arts.
Carolee Schneemann is a multidisciplinary artist who transformed the definition of art, especially the discourse on the body, sexuality, and gender. The history of her work is characterized by research into archaic visual traditions, pleasure wrested from suppressive taboos, and the body of the artist in dynamic relationship with the social body. A retrospective of her work was recently exhibited at MoMA PS1 between October 22nd and March 11, 2018. Her visual work is represented by PPOW and Galerie Lelong in New York City, as well as at Hales Gallery in London.
Her work has been shown at Los Angeles Museum of Contemporary Art; Centre Georges Pompidou, Paris; Whitney Museum of American Art, Museum of Modern Art, and the New Museum of Contemporary Art in New York. Film and video retrospectives have been held at the Centre Georges Pompidou, Paris; National Film Theatre, London; Museum of Modern Art and Whitney Museum, New York, among others. In 2015, Black Dog published a monograph, Unforgivable, and more recently in 2018, Primary Information published a book of her early writings, Uncollected Texts.
Peter Stevens has been the Administrator, and then the Executive Director, of The Estate of David Smith since 1980. Working closely with Smith’s two daughters, Candida and Rebecca Smith, he created an office to preserve and promote the legacy of David Smith. Under his leadership, the Estate has become a resource for scholarship, dedicated to furthering the understanding and appreciation of David Smith’s work. Mr. Stevens assists curators, historians and critics with scholarly research and publications, as well as acting as the acknowledged expert regarding diverse subjects such as David Smith's materials and methods, conservation, and documentation of source material.
Ann Temkin is The Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture at The Museum of Modern Art. Most recently she co-curated the exhibitions Picasso Sculpture (2015), Robert Gober: The Heart Is Not a Metaphor (2014), and Jasper Johns: Regrets (2014). She is currently engaged in planning the collection displays for MoMA’s expanded galleries (2019) as well as preparing an exhibition of the work of Donald Judd (2020).
Glenn Wharton is a Clinical Professor in Museum Studies at New York University where he teaches and writes about contemporary art and social justice programming in museums. He is a co-director of the Artist Archive Initiative at NYU, a project designed to promote research and disseminate knowledge about the work of contemporary artists. In 2006 Glenn founded Voices in Contemporary Art (VoCA) and served as its first executive director, then established MoMA’s Media Conservation program where he worked from 2007 to 2013.
Jeffrey Weiss is an independent curator and critic in Brooklyn, New York. Previously, he was a Senior Curator at the Guggenheim Museum, where he co-organized the Panza Collection Initiative (2010-17), an intensive study of the museum's vast holding of minimal and postminimal art. Widely published on topics of modern and postwar art, Weiss holds a PhD from the Institute of Fine Arts in New York, where he is adjunct professor.
Dr. Loretta Würtenberger
After studying law, philosophy and art history, Loretta Würtenberger earned her doctorate in international copyright and patent law at the Max Planck Institute, subsequently becoming the youngest ever judge at the Berlin district court. Würtenberger is founder and head of The Institute for Artists’ Estates and author of the book The Artist’s Estate: a Handbook for Artists, Executors, and Heirs, published in June 2016 by Hatje Cantz Verlag. She has been working with artists estates, artist endowed foundation and artists on legacy planing and estate management issues for many years. She has been a partner at Fine Art Partners since 2009, is the co-founder of the Contemporary Art Alliance, a non-profit organization supporting young contemporary artists in Berlin, and has lectured throughout Europe for various organizations and universities.