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Workshop

Curator-Artist Speed Consultations

Sunday, July 27 2014

No Longer Empty invites art practitioners at all developmental stages to participate in 15-minute consultations with three dynamic arts professionals. Each exchange and dialogue will provide expert feedback on artists’ portfolios and activities such as how to develop a project, find resources and research spaces in which to exhibit or perform.

When: Sunday, July 27, 2-5pm

Fee: $15

Buy tickets here via PayPal. Limited availability.

LOCATION: Morris-Jumel Mansion, 65 Jumel Terrace (between 161st and 162 Streets)

CONSULTANTS

Hitomi Iwasaki, Director of Exhibitions, Queens Museum of Art, has been a member of the QMA curatorial staff since 1996 and has assumed the responsibilities of running the curatorial department in 2008. She has organized a number of group exhibitions of emerging artists, including three of the past Queens International biennial exhibits, and project exhibitions with emerging and mid-career artists including Patty Chang, Silvia Grunner, Luca Buvoli, Nic Hess, Christian Marclay, Carlos Amorarles, and Ester Pertigas among many others. Hitomi initiatedLaunch Pad, the QMA’s first artist-in-residence program with O Zhang, Johanna Unzueta, Daniel Bozhkov, Duke Riley and others. Hitomi won the International Association of Art Critic’s IACA Curator’s Award Best Project in a Public Space, 2009-2010.  She was a part of the curatorial team for the multi-year three-venue exhibition of Caribbean art Caribbean: Crossroad of the Worlds (2012-13, with Studio Museum in Harlem and El Museo del Barrio) and has most recently opened a major thematic exhibition Bringing the World into the World (2014) that features the museum’s the Panorama of the City of New York as a center piece.  Currently, Hitomi is preparing for one-person exhibition of Jewyo Rhii, the artist’s first US museum exhibition, as well as launching of a new multi-year emerging artists projects. 

Manon Slome, is the Chief Curator of No Longer Empty. From 2002 to June 2008 she was the Chief Curator of the Chelsea Art Museum in New York. During that time, she curated and oversaw a program of some forty exhibitions, symposia and museum publications as well as monographs and scholarly essays. Ms. Slome became highly involved with the Israeli art scene during her research for the exhibition, Such Stuff as Dreams are Made on, (2005) and has followed and researched the Israeli scene for the last three years. Prior to the CAM, Ms. Slome worked as a curator at the Guggenheim Museum for seven years and was a holder of a Helena Rubinstein curatorial fellowship at the Whitney Independent Study program. She has written widely on contemporary art and has recently completed The Aesthetics of Terror published by Charta Press.

Dexter Wimberly is an independent curator and co-director of strategic planning at Independent Curators International (ICI) born and raised in Brooklyn, New York. A passionate collector and supporter of the arts, Wimberly has exhibited the work of more than 200 individual artists internationally. Wimberly maintains a critical dialogue with emerging artists throughout the world by way of his exhibitions, public programs, and lectures at galleries and arts institutions such as Mixed Greens Gallery, Driscoll Babcock Galleries, The Brooklyn Academy of Music, The Brooklyn Historical Society, the Museum of Contemporary African Diasporan Arts (MoCADA), The Savannah College of Art and Design, and The Lower Manhattan Cultural Council (LMCC).

Rachel Gugelberger is a curator and writer based in New York and co-founder of 1@111, a series of process-oriented discussions that focus on a single work, text, curatorial premise or proposition. Exhibitions include Once upon a Time, There was the End at Center for Book Arts, NY; Data Deluge at Ballroom Marfa, TX; Library Science at Artspace, New Haven, CT; and What is Left at Curatorial Research Lab/Winkleman Gallery, New York. Rachel has served as co-director of Sara Meltzer Gallery and interim curator at Exit Art in New York, where she curated the organization’s final exhibitions Every Exit Is an Entrance: 30 Years of Exit Art and Collective/Performative.

Publications include "Once upon a Time, There was the End" (The Center for Book Arts, 2014); “Making  Strange: The Parallel Lives of Cheon-Wook Park’s Objects and Images” (online essay for Seoul Art Space Geumcheon, 2012); “Many Failed Returns” in Diana Shpungin: (Untitled) Portrait of Dad (Stephan Stoyanov Gallery, 2011) and “In Through the Out Door” in Unfinished Memories: 30 Years of Exit Art (Steidl, forthcoming). Several of her essays were published in International Art Galleries: Post-War to Post-Millenium (Dumont Literatur/Kunst Verlag, 2009). Rachel received an MA from the Center for Curatorial Studies at Bard College, NY.

Guidelines

1.    You’re an artist, so don’t forget the art! Bring images of your work and if applicable a bio, CV and/or artist statement. Artists may bring physical work so long as it can be easily carried on your person. There is no space on-site to hold or display work. Free Wi-Fi is available on-site.

2.    Set your alarm! Please arrive at least fifteen minutes before the event start time to check-in. Be prepared to stay for up to 3 hours to ensure you consult with all three arts professionals. All three professionals may not see late arrivals.

3.    It’s about you, but not ALL about you! You’re here to get valuable insight so don’t dominate the conversation. Practice a 1-2 minute introduction of who you are as an artist (e.g. medium, statement of artistic focus, highlight a few select recent accomplishments and briefly state why you’re here). After that allow the consultation to flow smoothly as a conversation and exchange of ideas.

 

4.    Avoid the dreaded silence! Prepare a list of questions you want to ask each consultant as a way to maximize the outcome of your experience.


Related Exhibition:  If You Build It

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