Guest Scholars

FALL 2017

JESS WILCOX, Director of Exhibitions, Socrates Sculpture Park.
Since January 2016, Jess Wilcox has been Director of Exhibitions at Socrates Sculpture Park. Previously, she was at the Brooklyn Museum’s Elizabeth A. Sackler Center for Feminist Art, which she has held for four and a half years. In her time at the Brooklyn Museum, Wilcox notably organized the Elizabeth A. Sackler Center’s annual Women in the Arts talks and an outdoor Judy Chicago sculpture project that was exhibited in Prospect Park. She also co-curated the museum’s recent show Agitprop! which focuses on politicized artists working outside the confines of arts institutions. In addition to her work with Socrates and the Brooklyn Museum, over the past decade, Wilcox has also held various positions at Performa, MoMA, Storm King Art Center, and the Metropolitan Museum of Art, and staged projects for Artists Space, Sculpture Center, and The Kitchen, among others. Wilcox has also done interviews and reviews for Art in America and Artforum.

OWEN DUFFY, New York-based art historian, writer, and curator.
Owen Duffy has published in ArtReview, Momus, CURA., and art&education, among others, and has presented his research at such institutions as the National Gallery of Art, Washington D.C.; the Stedelijk Museum, Amsterdam; the Virginia Museum of Fine Arts, Richmond; and LASANAA Live Art Hub, Kathmandu. He has been a visiting critic at the Rhode Island School of Design and received his PhD from Virginia Commonwealth University where he completed a dissertation on the topic of The Politics of Immateriality and The “Dematerialization of Art.”

AMARA ANTILLA, Curator, Guggenheim Museum.
Amara Antilla has been a Guggenheim curator since 2010. She has assisted on the museum’s retrospectives of Lee Ufan (2011), V.S. Gaitonde (2014), and Monir Farmanfarmaian (2015), and on the Berlin program of the BMW Guggenheim Lab (2011–13). She also belongs to the curatorial team responsible for acquisitions and exhibitions focusing on contemporary art from South and Southeast Asia, Latin America, and the Middle East and North Africa under the auspices of the Guggenheim UBS MAP Global Art Initiative. Antilla has coordinated performances at the museum with OPAVIVARA!, Amalia Pica, Public Movement, and Naufus Ramírez-Figueroa, and works with the Guggenheim’s Latin American Circle, which supports programming and acquisitions related to modern and contemporary art from Latin America. Independently, she has organized programs in partnership with Clark House Initiative, Mumbai; FD13, SAint Paul/New York; Northern Spark, Minneapolis; and N. K. Projekt, Berlin. Antilla was awarded an Asian Cultural Council grant for art history (2015–16) and served as curatorial adviser for Rewind at the Dhaka Art Summit (2016). She studied art history at Tufts University and the School of the Museum of Fine Arts, Boston, and is currently pursuing graduate work in art history at Hunter College of the City University of New York (CUNY).

Amanda Parmer's writing, archival and curatorial work focuses on environmental issues as well as gender construction and representations. In 2014 she inaugurated PARMER—a space for exhibitions, programming and writing that focuses on feminisms and cultural studiesstrategies. She has presented exhibitions, programs and events in collaboration with e-flux; the Anna-Maria and Stephen Kellen Gallery, Sheila C. Johnson Design Center at Parsons, the New School; The New York Armory and Volta Shows; The Kitchen as well as Cleopatra’s, Brooklyn and Berlin and she has held residencies at the Abrons Art Center in New York as well as the Henie Onstad Kunstsenter in Norway. She has contributed catalog essays for publications issued by CUE Art Foundation, Brandts Museum of Photographic Art, Fotografisk Center and Whitney Museum of Art. She is also a contributing writer for and Art in America, Art & Education, and Bomblog and has been a visiting critic at Cooper Union; Lower Manhattan Cultural Council; Parsons, the New School; School of Visual Arts. She graduated from Rhode Island School of Design and attended the Whitney Museum of American Art Independent Study Program as well as the New Museum Seminars: (Temporary) Collection of Ideas and is a Part-time Lecturer at The New School.

ADAM SHEFFER, President of the Board, Art Dealers Association of America.
Adam Sheffer has served in ADAA leadership roles since 2005 and holds the positions of partner and sales director at Cheim & Read. He comes with 25 years of experience in the art world, having been a director for three ADAA members—Robert Miller Gallery, Danese Gallery, and Mary Boone Gallery—before moving to his current role at Cheim & Read.

CASEY FREMONT, Executive Director, Art Production Fund.
Since joining APF in 2004, Fremont has helped organize numerous public arts projects including Elmgreen & Dragset’s Prada Marfa, Josephine Meckseper’s Manhattan Oil Project , and most recently, Ugo Rondinone’s land-art installation Seven Magic Mountains in the Nevada desert.

JESSICA HONG, Curatorial Associate at the ICA Boston.
Jessica Hong has worked on solo exhibitions by Dana Shutz and Nari Ward, among others, since joining the ICA Boston. Prior to the ICA, she was curatorial assistant at the Harvard Art Museums; Curatorial Intensive Coordinator at Independent Curators International in New York; Graduate Curatorial Intern at SculptureCenter, NY; and Curatorial Research Assistant at the Whitney Museum of American Art.


MARK STRANDQUIST and COURTNEY BOWLES have spent years using art as a vehicle for connecting diverse communities to amplify, celebrate, and power social justice movements. Their projects combine organizing strategies and urgently needed services with collaborative, poetic, and performative actions that connect diverse and often antagonistic actors (abolitionists, police departments, service providers, and those impacted by the system). They have received multiple awards, fellowships, residencies, and reached wide audiences through the NY Times, the Guardian, NPR, the Washington Post, PBS NewsHour, VICE, and many others. They currently direct the People’s Paper Co-op in Philadelphia, PA, and the Performing Statistics project in Richmond, VA. In 2016, they were awarded the A Blade of Grass fellowship for Socially Engaged Art to begin the Philadelphia Reentry Think Tank.

KRISTON CAPPS is an art critic and journalist living and working in Washington, DC. Currently Capps works as a staff writer for The Atlantic blog, CityLab, where he writes about housing, arts, and design. Previously he served as a Senior Editor for Architect magazine. Capps also contributes exhibition reviews and news articles to Artforum, Art in America, and the Washington City Paper.

CESAR CORNEJO's work explores the relationship between art, architecture and society. He has received awards and residencies from the Sharpe Walentas Studio Program, Creative Capital Foundation, New York Foundation for the Arts, Lower Manhattan Cultural Council, Art Omi International Artists Residency, The British Council, The Center for Book Arts, and the Ministry of Education of Japan, among others. His work has been included in group exhibitions such as the XII Havana Biennial (2015), Art Positions at Art Basel Miami (2011), Busan Biennial (2008), and will be featured in the 2017 California Pacific Triennial at the Orange County Museum. He is a faculty member at the University of South Florida, and is represented by the gallery Lucia de la Puente, in Lima.

CHRISTOPHER K. HO is a Hong Kong-born, NY-based artist with degrees from Columbia and Cornell University. His work picks up threads of 1990s identity politics and weaves them into unlikely new patterns. Recent solo exhibitions include Present Co., NY (2016); Y Gallery, NY (2013); Forever & Today, NY (2013); FJORD, Philadelphia (2013); Winkleman Gallery, NY (2010, 2008);  Galeria EDS, Mexico City (2009). His work has been reviewed in the New York Times, Art in America, Modern Painters, Artforum, LEAP, Hyperallergic, RanDian, and ArtReview. He participated in the Incheon Biennial (2009), the Chinese Biennial Beijing (2008), and the Busan Biennial (2008), and has produced site-specific pieces for Storm King (2013) and the Cranbrook Art Museum (2011), where he was the 2010 Critical Studies Fellow.

OMAR LOPEZ-CHAHOUD is an independent curator based in New York City. He earned MFAs from Yale University School of Art in New Haven, CT, and the Royal Academy of Art in London, UK. Since 2012, he has been the Artistic Director and Curator of UNTITLED and will lead the curatorial team in its 2016 editions in Miami and San Francisco. As an independent curator, López-Chahoud has curated and co-curated numerous exhibitions in the United States and internationally, such as the Nicaraguan Biennial in 2014. López-Chahoud has participated in curatorial panel discussions at Artists' Space, Art in General, MoMA PS1, and the Whitney Museum of American Art in New York City. He is currently a member of the Bronx Museum Acquisitions Committee.

JESS SOLOMON is a culture strategist who seeks to expand and deepen the role of art and culture in the social change sector. With roots in Baltimore and Washington, DC, she believes in leveraging creative processes and products to reimagine strategies for cultural transformation. She is the Director of Art in Praxis and holds an MS from American University, where she also received the Hal Kellner Award. Solomon is a recent National Arts Strategies Creative Communities Fellow, an Executive Committee member of Alternate ROOTS, and advisor to the U.S. Department of Arts & Culture and the Arts, Culture & Social Justice Network.

ADRIEL LUIS is a self-taught musician, poet, curator, coder, and visual artist who believes imagination is the key to transforming cultural paradigms. As the Curator of Digital and Emerging Media at the Smithsonian Asian Pacific American Center, he is focused on exploring intersectional identities in the US and within contemporary, Asian diasporic art. He is a member of the iLL-Literacy arts collective, and sometimes moonlights on design projects with various artists and non-profits. Adriel frequently travels to different parts of Asia with particular interest in how digital spaces shape global communities, and how varying levels of freedom of expression can channel artistic political imagination.

PAUL FARBER is a historian and curator based in Philadelphia. Farber received a PhD in American Culture from the University of Michigan and is a faculty member at Haverford College. He is the Artistic Director of Monument Lab: Creative Speculations for Philadelphia, and serves as Mural Arts Philadelphia's inaugural Scholar-in-Residence. His book, “Boundaries of Freedom: An American History of the Berlin Wall,” is forthcoming from UNC Press. Farber's work has previously appeared in the Guardian, Criticism, Museums & Social Issues, and Art & the Public Sphere.

SAISHA GRAYSON-KNOTH is the Assistant Curator at the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum. She served as organizing curator of the museum’s presentation of “Wangechi Mutu: A Fantastic Journey,” and curated the center’s recent exhibition, “Chitra Ganesh: Eyes of Time.” She received her MA in Contemporary Art & Curatorial Studies from Columbia University and is currently a PhD candidate at the Graduate Center, CUNY, where she focuses on contemporary art, performance, feminist theory, and exhibition history, with an in-progress dissertation on Charlotte Moorman. She is a recent recipient of an Enhanced Chancellor’s Fellowship at the Graduate Center and a research residency at the Van Abbemuseum, Eindhoven, NL.

LAUREN VAN HAAFTEN-SCHICK is a curator, writer, and artist from New York City. She is a currently working on a PhD in the History of Art and Visual Studies at Cornell University, and is the Associate Director of the Art & Law Program in New York. Her current interests concern the artistic appropriation of legal technologies such as contracts; artists’ labor, property, and moral rights; judicial and legislative art histories; and critical forms of circulation, with a focus on artistic networks, early conceptual art and institutional critique.

PETER NESBETT is currently the Executive Director of the Washington Project for the Arts, DC's first alternative art space. Over the past year, he has produced a citywide public art performance taking the form of a fictional political campaign and curated an exhibition of recent artist publications. He is also the co-director of Triple Candie, which existed as a non-profit space in Harlem from 2001 to 2010 and now produces exhibitions about art, but without it, for museums in North America and Europe. In a previous life, he co-edited the catalogue raisonné on the art of Jacob Lawrence, the first American artist of African descent to be represented by a major New York art gallery.

JOSEPH DEL PESCO is a curator, writer, and online media producer. He holds an MA in Curatorial Practice from the California College of the Arts. In 2006, he was awarded a curatorial residency at the Banff Centre. Along with artist Scott Oliver, del Pesco founded the San Francisco Bay Area-based Shotgun Review, which was later taken over by Patricia Maloney and developed into Art Practical. The Shotgun Review was part of a larger exhibition project at the Yerba Buena Center for the Arts called the Collective Foundation. He is currently the Director of the Kadist Art Foundation in San Francisco, and previously worked as adjunct curator for Artists Space in NY. He has curated exhibitions at Yerba Buena Center for the Arts, Berkeley Art Museum and Pacific Film Archive, the Nelson Gallery and Fine Arts Collection at the University of California, Davis with curator Renny Pritikin, the San Francisco Museum of Modern Art, and the de Young Art Center.

JEFFERSON PINDER is an interdisciplinary artist based in Chicago and faculty member at School of the Art Institute of Chicago. His projects include sculpture, video, installation, and performance—often endurance-based, using either his own body or the bodies of performers, breakdancers, or musicians—to interrogate historical narratives and the African-American experience. Pinder’s work has appeared at the National Portrait Gallery, the High Museum in Atlanta, and the Hyde Park Arts Center in Chicago.

KAMELAAH JANAN RASHEED is is a photo-based conceptual artist, archivist, writer, and youth educator based in Brooklyn, NY. A 2006 Amy Biehl U.S. Fulbright Scholar to South Africa, Rasheed holds an Ed.M (2008) in Secondary Education from Stanford University as well as a BA (2006) in Public Policy and Africana Studies from Pomona College. She has exhibited her work at Studio Museum in Harlem, Bronx Museum, Queens Museum, BRIC Art Gallery, Weeksville Heritage Museum, Smack Mellon Gallery, Vox Populi Gallery, TOPAZ Arts, Schomburg Center for Research in Black Culture, The Leroy Neiman Gallery, etc. Her work has been reviewed and written about in The New York Times, Art 21, Wall Street Journal, ArtSlant, and Hyperallergic. Her interviews and essays have been published in The New Inquiry, Gawker, The Guardian, Creative Time Reports, and Otabenga Jones & Associates (OJAK Radio).

BAYETÉ ROSS SMITH is a photographer, multimedia artist and filmmaker from Harlem, NY. He began his career as a photojournalist with Knight Ridder. Ross Smith has exhibited his work internationally with institutions such as the San Francisco Arts Commission, the Brooklyn Museum, the Oakland Museum of California, the Schomburg Center, the Unseen Photo Festival (Amsterdam), Goethe-Institut (Ghana) and Zacheta National Gallery of Art (Poland). His accolades include an International Center of Photography Infinity Award for New Media. Ross Smith is a faculty member at the International Center of Photography and New York University, and the Associate Program Director for the non-profit Kings Against Violence Initiative.

PAUL RUCKER is a visual artist, musician, and composer who uses visual images and sound to render powerful reflections on racial injustice in America. A native of South Carolina, Rucker’s work investigates the long-term social and economic effects of slavery in the United States, drawing parallels to racially motivated violence, police brutality, and the criminalization of African Americans. Rucker has presented performances and visual art exhibitions across the country and has collaborated with schools, prisons, and policy institutes to address issues of mass incarceration.

ALISON SAAR was born in Los Angeles, California. She studied art and art history at Scripps College and received an MFA from the Otis College of Art and Design. She received the United States Artists’ Fellowship in 2012 and has also been awarded the John Simon Guggenheim Memorial Foundation Fellowship and two NEA Fellowships. She has exhibited at numerous galleries and museums, including The Contemporary, the Hirshhorn Museum and Watts Towers Arts Center. Her art is represented in the collections of the Whitney Museum, Baltimore Museum of Art, MoMA, and the Met.

JOYCE J. SCOTT is an artist from Baltimore, Maryland. She is a printmaker, weaver, sculptor, performance artist, and educator, but she is probably most well known for her work in jewelry, beadwork, and glass. She received her BFA from the Maryland Institute College of Art and an MFA from the Instituto Allende in San Miguel de Allende, Guanajuato, Mexico. Her work has appeared in solo and group exhibitions at the Baltimore Museum of Art, the Museum of Art and Design, the Fuller Craft Museum, the Smithsonian American Art Museum, and the Metropolitan Museum of Art, among others, and it is held in the public collections of numerous national and international museums. In 2016, Joyce J. Scott received the prestigious MacArthur Foundation “Genius” Grant.

HERB TAM is the Curator and Director of Exhibitions at the Museum of Chinese in America (MOCA), New York where he recently co-curated “Sour, Sweet, Bitter, Spicy: Stories of Chinese Food and Identity in America,” which featured a video installation and ceramics that defined Chinese food in America. Tam has previously served as the Associate Curator at Exit Art and the Acting Associate Curator at the Queens Museum of Art. He has also curated solo exhibitions with artists Lee Mingwei, Rafael Sanchez and Regina Jose Galindo, and has worked on historical exhibitions about urban planner Robert Moses and alternative art spaces in New York. Tam was born in Hong Kong and raised in the San Francisco Bay Area. He studied at San Jose State University and earned an MFA from the School of Visual Arts, New York.

FRED WILSON has created site-specific installations in collaboration with museums and cultural institutions throughout North America, the Caribbean, Europe, the Middle East, and Asia. His work encourages viewers to reconsider social and historical narratives and raises critical questions about the politics of erasure and exclusion. Beginning with the groundbreaking and critically acclaimed exhibition “Mining the Museum” (1992-93) at the Maryland Historical Society, Fred Wilson has juxtaposed and re-contextualized existing objects to create new installations, which alter their traditional meanings or interpretations. In 2003, Wilson represented the United States at the 50th Venice Biennale with the solo exhibition “Fred Wilson: Speak of Me as I Am.” His many accolades include the prestigious John D. and Catherine T. MacArthur Foundation “Genius” Grant (1999), among others.


Naomi Beckwith, Tania Bruguera, Teddy Cruz, Mark Dion, Rita Gonzalez, Edgar Heap of Birds, Pablo Helguera, Kellie Jones, Tod Lippy, Rick Lowe, Amelia Mesa Bains, Lee Mingwei, Shamin M. Momin, Pepon Osorio, Walid Raad, Tim Rollins, Mierle Ukeles, and Lily Yeh.