People / Guests
Guest artists, curators, writers, publishers, designers, and educators are an invaluable part of the California College of the Arts Graduate Program in Curatorial Practice.
From working regionally with Bay Area and California artists and organizations, to publishing online journals and printed matter, to programming art fairs and participating in large-scale biennials, guests provide a continual supply of new perspectives, intersecting with students in classrooms and public settings such as Curatorial Research Bureau’s Open Seminar and AfterWord programs.
Gwen Allen is Professor of Art History at San Francisco State University, where she specializes in contemporary art, criticism, and visual culture. She has written extensively about art and design for publications including Artforum, Bookforum, Art Journal, ARTMargins, Mousse, Art in America, Art Papers, caa.reviews and East of Bourneo. She is the author of Artists' Magazines: An Alternative Space for Art (MIT Press, 2011), and edited the volume The Magazine in the Documents of Contemporary Art Series (MIT Press and the Whitechapel Gallery, 2016).
Giorgio Angelini came to film from a multifaceted career in the creative arts. After touring with bands like The Rosebuds and Bishop Allen, Angelini enrolled in Rice University’s Masters of Architecture Program. Following graduate school, he worked with the architecture firm Schaum Shieh Architects where he designed a wide array of projects, from an exhibition at the Venice Architecture Biennale to the White Oak Music Hall in Houston, Texas, which received an AIA design award in 2017. Now focused on filmmaking, Angelini launched a production company called Section Perspective Films, the name a nod to his practice operating at the intersection of architecture and film. He served as executive producer for the feature film My Friend Dahmer and directed the documentary-short My Death is Pending…Because. Angelini is currently in production with animator Arthur Jones for a feature documentary about Pepe the Frog, memetics, and the rise of far-right politics in America.
Since 1995, Liesbeth Bik and Jos van der Pol work collaboratively as Bik Van der Pol. Working as a collective for them is a conscious political and artistic choice; an art practice does not develop in a vacuum, but manifests itself both in the framework of the art world as well as in the socio-political milieu of contemporary society. Moving away from the studio as the place of production, they took the artistic workplace itself -practice- as the format of research and production. Setting up the conditions for encounter, they developed a process of working that calls for continuous reconfigurations of places, histories and publics, to question, articulate and understand how to produce a public sphere and space for speculation and imagination, where ‘publicness’ is not only defined but also created.
Rosa Barba is an artist with a particular interest in film and the ways it articulates space. Taking a conceptual approach to filmmaking, questions of composition, physicality of form, and plasticity play an important role in the perception of her work. She interrogates the industry of cinema with respect to various forms of staging, such as gesture, genre, information, and documents, taking them out of the context in which they are normally seen and reshaping and representing them anew. Barba is based in Berlin.
Dore Bowen explores the relationship between photography, politics, and human experience to write alternative histories of contemporary art. Her book Bruce Nauman: Spatial Encounters, with Constance M. Lewallen, is forthcoming from University of California Press. Other publications include “Une Belle Banalité: Dan Graham” in Culture et Musées (forthcoming); “On the Site of Her Own Exclusion: Strategizing Queer Feminist Art History” in Otherwise: Imagining Queer Feminist Art Histories; “This Bridge Called Imagination: On Reading the Arab Image Foundation” in Invisible Culture; and “Imagine There’s No Image (It’s Easy If You Try): Appropriation in the Age of Digital Reproduction” in The Companion to Art History Since 1945. She has received fellowships from the National Humanities Center, the Centre Allemand d’histoire de l’art, The Clark Art Institute, the Camargo Foundation, and the Getty Research Library. She is currently Associate Professor of Art History and Visual Culture at San José State University.
Julia Born lives and works in Zurich. Since completing her studies at Amsterdam’s Gerrit Rietveld Academie in 2000, she has worked on various projects between Switzerland, Amsterdam and Berlin. Her practice focuses on editorial design for a variety of cultural clients, including the Stedelijk Museum in Amsterdam, the Kunsthalle Basel, the ICA Miami, the Guggenheim Museum New York, and documenta 14 in Kassel and Athens. Her work, developed in close dialogue with institutions, curators and artists, includes books, magazines, exhibition design, identities and more. Alongside commissioned work, Born has continuously collaborated on investigative projects with other designers and artists, including photographer Uta Eisenreich, fashion designer JOFF, and choreographer Alexandra Bachzetsis. These projects revolve around questions of language and representation. Born teaches graphic design at the Gerrit Rietveld Academie in Amsterdam. Among her numerous prizes, she received the Jan Tschichold Award in 2011, awarded by the Swiss Federal Office of Culture.
Laurel Braitman is a New York Times bestselling author, historian and anthropologist of science. She is currently a Writer-in-Residence at the Medicine & the Muse Program at the Stanford University School of Medicine where she's busy helping physicians tell better stories--for themselves and their patients. Her writing has appeared in The New York Times, The Guardian, The Wall Street Journal, Wired and other publications. Her last book, Animal Madness (Simon & Schuster 2015) was a NYT bestseller and has been translated into seven languages. She holds a PhD in Science, Technology and Society from MIT, is a Senior TED Fellow and a Contributing Writer for Pop Up Magazine, a live magazine the New York Times has called a “Sensation.” Her work and collaborations with musicians and artists have been featured on the BBC, NPR, Good Morning America and Al Jazeera. She's taught popular interdisciplinary courses at Stanford School of Medicine, Harvard, MIT, Smith College and elsewhere and is passionate about working with musicians, physicians, scientists, and artists.
Deena Chalabi is an independent curator and writer. She is the former Barbara and Stephan Vermut Associate Curator of Public Dialogue at the San Francisco Museum of Modern Art. As co-curator, with Dominic Willsdon of Public Knowledge, the multi-year partnership between SFMOMA and the San Francisco Public Library supported by the National Endowment for the Humanities, she worked with artists, library staff and multiple communities to develop collaborative projects that explored the changing Bay Area and the impact of art and ideas in public life today.
Yann Chateigné is a writer, curator, and professor at the Geneva School of Art and Design (HEAD–Genève). He previously has served as dean of Visual Arts at HEAD–Genève and chief curator at CAPC in Bordeaux. Previous projects include Bringing Something Back, Bergen Kunsthall (2018), Seismology, Palais de Tokyo, Paris (2013) and IAO. Psychedelic Explorations in France, 1968–∞, CAPC (2008). His writings appeared in Artforum, Frieze, Kaleidoscope, Mousse and Spike. He coedited The Archive as a Productive Space of Conflict (Sternberg Press, 2016).
Allan deSouza’s cross-media works restage colonial-era material legacies through counter-strategies of humor, fiction, and (mis)translation. A recent project, Through the Black Country… (2017), transposes Henry Stanley’s 1870s expedition journals to England during the 2016 Brexit vote, and is accompanied by expedition maps, photographs, and a base camp. deSouza’s work has been shown extensively in the US and internationally, including at the Krannert Museum, IL; the Phillips Collection, Washington, DC; and the Pompidou Centre, Paris. deSouza’s book, How Art Can Be Thought (Duke, 2018), examines art pedagogy, and proposes decolonizing artistic and pedagogical practices that can form new attachments within the contemporary world. The book provides an extensive analytical glossary of some of the most common terms used to discuss art, focusing on their current usage while considering how those terms may be adapted to new artistic and social challenges. deSouza is represented by Talwar Gallery, NY and New Delhi, and is an Associate Professor and Chair of the Department of Art Practice at University of California, Berkeley.
David Evans Frantz is Associate Curator at the Palm Springs Art Museum. From 2011 to 2018 he was the curator at ONE National Gay & Lesbian Archives at the USC Libraries. His curatorial projects examine alternative art movements, queer politics and culture, historical erasure, and archival practices in contemporary art. At ONE he founded a visual arts program that presented historical exhibitions and artist commissions responding to ONE’s collections. In 2017 he co-curated with C. Ondine Chavoya the exhibition Axis Mundo: Queer Networks in Chicano L.A., a collaboration between ONE Archives and The Museum of Contemporary Art, Los Angeles for Pacific Standard Time: LA/LA. Axis Mundo is traveling to multiple venues in the United States between 2018 and 2020 and has been the recipient of numerous awards, including an Award for Excellence from the Association of Art Museum Curators (AAMC) for the exhibition catalogue.
Simon Fujiwara has shaped a complex and rich practice that interweaves performance, film, sculpture, and text into highly immersive environmental installations exploring the inherent contradictions in meaning and interpretation of image and representation. Often bringing personal experiences (both real and imagined) into contact with broader historical, social, and political topics, his expansive practice examines the influence marketing, advertising, social media, and other communication mechanisms have on the construction of personal identity. Fujiwara is based in Berlin and represented by Esther Schipper, Berlin.
Shannon Harvey is co-founder of Los Angeles-based design studio IN-FO.CO (Inventory Form & Content) and Managing Director of Inventory Press, publishing books on topics in art, architecture, graphic design, and music. With a background in architecture and graphic design, Harvey previously worked in design, editorial, and curatorial roles at Project Projects, Rockwell Group, Canadian Centre for Architecture, and OMA/AMO Rotterdam.
Shoghig Halajian is a curator and writer who serves on the Board of Directors at Human Resources LA. From 2013 to 2016, she was Assistant Director at LACE, where she curated numerous exhibitions. She has presented projects at the Hammer Museum, Los Angeles; UKS, Oslo; Le Magasin-Centre National d’Art Contemporain, Grenoble, among other venues. She is currently a PhD student in Art History, Theory, and Criticism at the University of California, San Diego.
Constance Hockaday’s work is about creating portals that get people closer to the water and nature, and closer to that feeling of belonging in a place (preferably the place where they live). Hockaday has most often looked to water as a place for hosting social sculptures and immersive experiences. She believes the shoreline is a place where many human and non-human interests collide.
American artist Scott Holmquist has lived and worked in Berlin since 2011. His books, interventions, exhibitions and installations are shown throughout Europe and the United States and have consistently focused upon and interrogated how young males work outside and against their dominant cultures. His recent work Dealer Poses, which examined park drug dealers in Berlin, was presented at Gallerie IG Bildende Kunst in Vienna, Austria, in March 2019. Holmquist has received support from Conservation International; New York State Council on the Arts; the Heinrich Böll Foundation; the Rosa Luxembourg Foundation; Furthermore, Inc; the Kreuzberg Museum, Berlin; and the Provisions Library: the Arts of Social Change at George Mason University, Fairfax, Virginia.
Walter Hood is the Creative Director and Founder of Hood Design Studio in Oakland, California. Hood Design Studio is his tripartite practice, working across art + fabrication, design + landscape, and research + urbanism. He is also a professor of landscape architecture at the University of California, Berkeley and lectures on professional and theoretical projects nationally and internationally.
Hood designs and creates urban spaces and objects that are public sculpture. Believing everyone needs beauty in their life, he makes use of everyday objects to create new apertures through which to see the surrounding emergent beauty, strangeness, and idiosyncrasies of urban space. His ideas emerge from years of studying and practicing architecture, landscape architecture, and fine arts, and yet Hood tactfully eschews from differentiating between the three on any one project.
The Studio’s award winning work has been featured in publications including Dwell, The Wall Street Journal, The New York Times, Fast Company, Architectural Digest, Places Journal, and Landscape Architecture Magazine. Walter Hood is also a recipient of the 2017 Academy of Arts and Letters Architecture Award.
Amanda Hunt is Director of Education and Public Programs at the Museum of Contemporary Art, Los Angeles, and co-curator of the 2019 Desert X Biennial in Palm Springs. Past appointments include Associate Curator at The Studio Museum in Harlem, New York, and Curator at LAXART, Los Angeles, where she helped coordinate the 2012 Pacific Standard Time Public Art and Performance Festival for the Getty Research Institute, and Made in L.A. 2012, the Hammer Museum’s first Los Angeles biennial. At the Studio Museum, Hunt produced numerous exhibitions, including A Constellation, Black Cowboy, and in 2016 commissioned inHarlem: Kevin Beasley, Simone Leigh, Kori Newkirk, Rudy Shepherd, a public sculpture initiative in partnership with the New York City Parks Department. Hunt was also the first nonregional curator of the Portland Biennial of Contemporary Art in 2014. She obtained an MA in curatorial practice from California College of the Arts.
Susie Kantor is the associate curator of visual art at YBCA. She holds an MA in art history with a focus on seventeenth-century Dutch painting from New York University, Institute of Fine Arts, and a BA in art history and political science from Wellesley College. Her curatorial projects include Bay Area Now 8 (co-curated with Lucía Sanromán and Martin Strickland), Tania Bruguera: Talking to Power / Hablándole al Poder (2017) (co-curated with Lucía Sanromán), Won Ju Lim: Raycraft Is Dead (2015), Kevin Cooley: Golden Prospects (2015), and Work in Progress: Investigations South of Market (2015), and she served as the coordinating curator for the traveling exhibition Radical Presence: Black Performance in Contemporary Art (2015). Prior to YBCA, she held positions at the Asian Art Museum, San Francisco, and at Richard L. Feigen & Co., New York.
Lian Ladia is a curator and organizer. She is currently working on the research and presentation of Filipino American Bay Area Artist Carlos Villa's works at the Singapore Biennale 2019. Her curatorial collaborative, Planting Rice was also invited to lead the public program of the exhibition at the National University of Singapore. She is also an organizer at the South of Market Community Action Network (SOMCAN) working on community planning and engagement projects on social equity and art and culture empowering immigrant families in the SOMA.
Constance Lewallen is adjunct curator at the University of California, Berkeley Art Museum and Pacific Film Archive where first she was MATRIX curator and subsequently senior curator who organized many major exhibitions. These include Joe Brainard: A Retrospective (2001), The Dream of the Audience: Theresa Hak Kyung Cha (1951-1982) (2001); Everything Matters: Paul Kos, a Retrospective (2003); Ant Farm 1968-1978 (with Steve Seid) (2004); A Rose Has No Teeth: Bruce Nauman in the 1960s (2007; State of Mind: New California Art ca. 1970 (with Karen Moss) (2011). All of these toured nationally and internationally and were accompanied by catalogues. Her most recent exhibition, Mind over Matter, was presented at BAMPFA in 2016. Lewallen is author of 500 Capp Street: David Ireland’s House and co-author of Bruce Nauman: Spatial Encounters, both published by UC Press.
Nancy Lim is assistant curator of painting and sculpture at the San Francisco Museum of Modern Art, where she focuses on postwar and contemporary California art. She is co-curator of the forthcoming exhibitions Mythos, Psyche, Eros: Jess and California (2019) and the 2019 SECA Art Award, as well as a Deborah Remington survey opening at di Rosa Center for Contemporary Art in spring 2020. She also contributed to the retrospectives of Bruce Conner (2016–17) and Vija Celmins (2018–19), and has organized collection exhibitions including Between Two Worlds (2017–18) and Stranger in a Strange Land: Art of California (2018). Prior to SFMOMA, she served as Asian Art Curatorial Fellow at the Guggenheim Museum, and as Curatorial Assistant in the Department of Painting and Sculpture at the Museum of Modern Art, New York.
Maria Lind is a curator, writer, and educator based in Berlin. She was director of Tensta konsthall from 2011 to 2018, and artistic director of the 11th Gwangju Biennale; director of the graduate program, Center for Curatorial Studies, Bard College (2008–10); and director of Iaspis in Stockholm (2005–07). From 2002 to 2004, she was director of Kunstverein München, and in 1998 was co-curator of Manifesta 2. She is professor of artistic research at the Art Academy in Oslo. In 2010, Selected Maria Lind Writing was published by Sternberg Press. (Portrait by Bernd Krauss)
Maria Lind is the program’s 2018/19 Curator-in-Residence.
Ted Mann is an independent curator based in the Bay Area. He was the guest curator for Bruce Nauman: Blue and Yellow Corridor at the Jan Shrem and Maria Manetti Shrem Museum of Art, University of California Davis, and is the co-curator of a forthcoming survey of Stephen Kaltenbach opening at the Manetti Shrem in January 2020. He is also consulting associate curator for the Solomon R. Guggenheim Museum's Panza Collection Initiative (2010-2020). Mann received his MA and MPhil from the Institute of Fine Arts, New York University.
Josiah McElheny is a sculptor who draws from the decorative and functional traditions of glass to craft a new, multifaceted form of contemporary art. Often using narratives inspired by the histories of art, design, and glass as points of departure, McElheny creates objects of exceptional formal sophistication, exquisite craftsmanship, and conceptual rigor. While the beauty of his blown glass objects invite viewers into his installations, the narratives behind each piece encourage thoughtful reflection upon the objects’ significance.
Adam Michaels is a designer, editor, and publisher. He is the co-founder of IN-FO.CO (Inventory Form & Content) and publisher of Inventory Press. Previously, he co-founded internationally-renowned design studio Project Projects (2004–2017), recipient of the 2015 Cooper-Hewitt National Design Award for Communication Design. Michaels is co-author of The Electric Information Age Book: McLuhan/Agel/Fiore and the Experimental Paperback.
Qianjin Montoya is a San Francisco–based independent curatorial researcher. She holds an MA in curatorial practice from California College of the Arts and a BA in art history from UC Berkeley. She was co-curator and program coordinator of her graduate thesis exhibition, Black Light (2017), which took place at the CCA Wattis Institute for Contemporary Arts and involved discussions on cultural institutions, community building, and creative invention among black artists in the United States. Her contributions to YBCA’s Bay Area Now 8 included a timeline and an essay, “Twenty Years of Bay Area: Legacy of the Locals.” She is a 2018/19 Emerging Arts Professionals (EAP) SF/Bay Area Fellow and has held positions at Jessica Silverman Gallery in San Francisco and One Grand Gallery in Portland, Oregon.
Viniita (Vee) Moran is an artist, bookseller, and publisher. She is the founder of Owl Cave Books, a San Francisco-based independent bookshop and publisher specializing in international contemporary art, theory, culture, and politics. Established in London in 2008 while she was also Bookshop Manager at the Institute of Contemporary Arts, Owl Cave has been based in the Bay Area since 2010. Owl Cave continues through multiple iterations, participating in exhibitions, book fairs, contributing to publications, research groups, and from 2016 until 2018 operating a full time experimental artist-run bookshop in San Francisco’s Mission District.
In his sculptures, photographs, and films, the artist Shahryar Nashat often addresses the representation of the body and the conventions of mediation and presentation. Nashat finds great pleasure in details, and his works—with their near-obsessive methods of framing and cropping—draw the viewer into a world of clandestine forms, artful gestures, and posturing. Nashat is represented by David Kordansky Gallery, Los Angeles, and Rodeo Gallery, London. He is currently based in Los Angeles.
Prior to her 2017 appointment as Dean of Design at California College of the Arts, Helen Maria Nugent held a series of leadership positions at School of the Art Institute of Chicago (SAIC) since 1997, including chair of the Designed Objects programs; director of the MDes, MFA, and BFA Pathway programs; and director of the First-Year program. She has taught in SAIC’s Department of Architecture, Interior Architecture, and Designed Objects since 1997, and became full professor in 2010.
Nugent is co-founder of HAELO Design with Ron Kirkpatrick. Haelo is an independent, research-oriented studio that pursues speculative and commercial design projects with a focus on furniture, objects, services, and exhibition design.
Barbara Pollack is an award-winning journalist, art critic, and curator who is one of the world’s leading authorities on contemporary Chinese art. Pollack’s writing has appeared in Vanity Fair, the New York Times, the Washington Post, the Village Voice, Departures, Art and Auction, and Art in America, among many others. She has also written several groundbreaking monographs on young Chinese artists, including the first published artist profile of Ai Weiwei for ARTnews in 2005. She lectures regularly across the USA and Asia, and was the keynote speaker at 2018’s Art Basel Hong Kong.
Renny Pritikin was born in New York and holds a BA from New School College, New York, and an MA in interdisciplinary arts from San Francisco State University. He was codirector, then director, of New Langton Arts in San Francisco from 1979 to 1992; chief curator at Yerba Buena Center for the Arts from 1992 to 2004; director of the Nelson Gallery and Fine Arts Collection at UC Davis from 2004 to 2012; and chief curator at the Contemporary Jewish Museum, San Francisco, from 2014 to 2018. Pritikin was a senior adjunct professor in the Graduate Program in Curatorial Practice at California College of the Arts from its inception in 2003 until 2015. He is currently working on a memoir and curating two exhibitions for the Contemporary Jewish Museum for 2020.
Daniela Lieja Quintanar is a curator at Los Angeles Contemporary Exhibitions (LACE) and works between Los Angeles and Mexico, emphasizing contemporary art and curatorial practices that explore the politics and social issues of everyday life. She is part of the curatorial team of the MexiCali Biennial 2018–19, and was recently awarded the Warhol Foundation Curatorial Research Fellowship.
Curator, The Contemporary Jewish Museum, Director of Programming, San Francisco Art Book Fair, San Francisco, CA; MA Curatorial Practice, 2013
Frances Richard is the author of three books of poems: Anarch. (Futurepoem, 2012), The Phonemes (Les Figues Press, 2012) and See Through (Four Way Books, 2003). She is co-author, with Jeffrey Kastner and Sina Najafi, of Odd Lots: Revisiting Gordon Matta-Clark’s “Fake Estates” (Cabinet Books, 2005), and editor of Joan Jonas is On Our Mind, a volume of essays on the artist (Wattis Institute, 2017); her book-length study Gordon Matta-Clark: Physical Poetics appears in 2019 from the University of California Press. She is associate editor at Places journal, and teaches at the California College of the Arts in San Francisco.
Leslie Carol Roberts, BA Michigan, MFA, Iowa, Fulbright Fellow, is an author, journalist, and essayist. Her book Here Is Where I Walk: Episodes from a Life in the Forest (Nevada, 2019), details more than a decade of walks in the Presidio National Park where she resides as well as walks in Tasmania, Italy, Maryland, and elsewhere, offering a set of John D’Agata (About a Mountain) called “absorbing, funny, tragic, and deeply present ruminations.” She is also professor and chair of the MFA Writing program at California College of the Arts.
Zoë Ryan is the John H. Bryan Chair and Curator of Architecture and Design at the Art Institute of Chicago. Her projects include the exhibition In a Cloud, in a Wall, in a Chair: Modernists in Mexico at Midcentury, to open in 2019. In 2017, she co-curated Past Forward: Architecture and Design at the Art Institute and edited As Seen: Exhibitions that Made Architecture and Design History. In 2014, she curated the second Istanbul Design Biennial. Ryan has taught graduate seminars at the School of the Art Institute and the University of Illinois at Chicago.
Barbara Stauffacher Solomon is a San Francisco based artist, graphic and landscape designer, and writer. Her work mixes Californian Pop with Swiss Modernism into California Cool. In the 1960s, at The Sea Ranch, she created SUPERGRAPHICS where supersized contentless stripes, arrows, and letterforms fly from one wall to the next to the ceiling to become art people can walk into.
Megan Steinman is an independent curator, writer, and producer with over 20 years of experience in the arts, entertainment and culture industries. She is currently the Director of The Underground Museum in Los Angeles. Megan holds a Master of Public Art Studies from the University of Southern California Roski School of Fine Art. She has organized exhibitions, art installations and events at institutions around the world, including Dolby Gallery, Museo Pecci Milano, Sonos Studio Los Angeles, the Santa Monica Museum of Art, District Berlin, ICA Boston, the MAK Center for Art and Architecture, Los Angeles Contemporary Exhibitions (LACE), and the Los Angeles County Museum of Art (LACMA). Megan has written for several artist publications and exhibition catalogs, including Edges of the Experiment by Marie-Josè Jongerius (2014, Fw: Books Amsterdam) and Dance/Draw at ICA Boston (2011, Hatje Cantz).
Weston Teruya is a Honolulu-born, Oakland-based artist who has exhibited at the Mills College Art Museum, Oakland; Yerba Buena Center for the Arts, San Francisco; Kearny Street Workshop, San Francisco; Longhouse Projects and the New York City Fire Museum, New York; and Atlanta Contemporary Art Center. He has received public art commissions from the San Francisco and Alameda County Arts Commissions. In 2019 Teruya will exhibit at the Mills College Art Museum and have a solo exhibition at the University of Hawaiʻi, Mānoa. He has received grants from Artadia, the Asian Cultural Council, Creative Work Fund, and the Center for Cultural Innovation. He has been an artist in residence at Montalvo Arts Center, Ox-Bow, the de Young, Recology, and Kala Art Institute, and will be at A. Farm in Saigon in 2019.