here - ArtTable

ARTTABLE, Inc., is a national membership organization for professional
women in leadership positions in the visual arts. Founded in 1981, ArtTable
has as its purpose to promote and advance greater knowledge,
understanding, and appreciation of the visual arts. By providing a forum for
the exchange of ideas, experience, and information, we seek to identify
and support policies and programs which promote the visual arts, to
increase the effectiveness and visibility of women in the visual arts, to
promote a diverse representation of voices, to increase access to the field
through mentoring, and, in so doing, to help enrich the nation’s cultural life.
Patrons
Alberta Arthurs
Sandra Berler
Nancy Berman
George Bookman
Ruth Bowman
Elizabeth A. Burke
Jacqueline Brody
Julie Burton
Kimberly Camp
Judi Caron
Laurel Garcia Colvin
Kinshasha Holman Conwill
Wendy Cromwell
Kathleen Doyle
Anne Edgar
Ann Freedman
Sigrid Freundorfer
Helio Fred Garcia
Joy Hailinan
Caroline Hansberry
Donna Harkavy
Beverly Schreiber Jacoby
Linda Kastan
Welmoed Laanstra
Susan Mason
Isabel and Julio Nazario
Carol Neuberger
Meredith Palmer
Ruth Perlin
Leslie Rosenzweig
Carol Saper
Aletta Schaap
Joyce Pomeroy Schwartz
Laura Skoler
Clara Diament Sujo
Roselyne Swig
Barbara Toll
Linda Evans Twichell
Martina Yamin
We graciously thank the generosity
and support of our sponsors!
✦✦✦
THE HENRY LUCE FOUNDATION
✦✦✦
THE LIMAN FOUNDATION
THE ANDY WARHOL FOUNDATION
TAB FRONT
Wednesday, April 6
10:00am ~1:00pm
Mentoring Roundtable at Sotheby’s
(1334 York Avenue @ 72nd Street)
TAB BACK
Students and young professionals in arts administration,
museum studies, and art history programs were invited to
participate in roundtable discussions regarding careers
in the visual arts. Sponsored by the College Art Association.
CHAIRS
Sandra Lang, Director, Visual Arts Administration, MA Program,
New York University
Joan Jeffri, Director, Program in Arts Administration and Research Center
for Arts and Culture, Teachers College, Columbia University
MENTORING HOSTS:
Development/Foundation
Nina Diefenbach, Deputy Vice President, External Affairs,
The Metropolitan Museum of Art
Marilynn Donini, Manager, Contributions, Altria Group, Inc.
Gallery/Corporate Collections
Mary Sabbatino, Vice President, Galerie Lelong
Margaret Kelly Trombly, Vice President, The Forbes Collections
Public Relations/Marketing
Rena Zurofsky, Principal, Rena Zurofsky Consulting
Non-Profit Directors
Jenny Dixon, Director, The Isamu Noguchi Foundation, Inc.
Anne Pasternak, Executive Director, Creative Time
Museum Administration/Museum Education
Jennifer Russell, Deputy Director, Exhibitions & Collections Support,
Museum of Modern Art
Sharon Vatsky, Senior Education Manager, The Solomon R. Guggenheim Museum
6:00 ~ 7:30pm
Opening Reception at The Solomon R. Guggenheim Museum
(1071 5th Avenue @ 89th Street)
Keynote Speaker
Marilyn Yalom, senior scholar at the Institute
for Women and Gender at Stanford University
and author of Birth of the Chess Queen
8:00 ~10:00pm
Dinners at Collectors’ Homes
SCHEDULE
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Thursday, April 7 at Sotheby’s
Friday, April 8 at Sotheby’s
(1334 YORK AVENUE)
9:00 ~10:00am
9:00 ~ 9:30am
Annual Meeting
Check in/Registration
Memorial for Caroline Goldsmith and screening of Oral History interview
Continental breakfast will be served
10:00am ~ Noon
9:30 ~11:30am
Feminism and the Feminization of the Art World
Trendspotting in the Art World
Speakers include Lisa Corrin, Marguerite
Steed Hoffman, Katy Siegel, and Lowery
Stokes Sims; moderated by Bonnie Clearwater
Speakers include Heidi Hartmann, Sarah Elizabeth Lewis, and Linda Nochlin;
moderated by Ruth Weisberg
Sotheby’s, New York
Noon ~ 2:00pm
Silent auction and lunch on your own
11:45am ~1:00pm
Lunch at Sotheby’s
honoring ArtTable’s founding members
Enter to win a Celine “Boogie Bag,” jewelry by Aaron Barash and bid
on exciting items from museum stores throughout the city.
2:15 ~ 4:15pm
1:15 ~ 3:15pm
“Art”repreneurs
Speakers include Kathan Brown, Laurie Cumbo, Rainey Knudson, Linda M.
Pace, Susan Sollins, and Paige West; moderated by Mary Zlot
Women as Patrons
Speakers include Iris Cantor, Agnes Gund, Sheila C. Johnson, and
Roselyne Chroman Swig; moderated by Dorsey Waxter
4:30 ~ 5:30pm
3:30 ~ 5:30pm
Wrap up and Call to Action
Women as Institution Builders
Alberta Arthurs and Kinshasha Holman Conwill
Speakers include Anne d’Harnoncourt, Peggy Loar, Susana Torruella Leval,
and Marcia Tucker; moderated by Emily K. Rafferty
7:00 ~9:00pm
7:00 ~11:00pm
Dutch-Treat “Hot Topic” Dinners with ArtTable Members
Gala Award Dinner at Cipriani
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SCHEDULE
SCHEDULE
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Saturday, April 9
10 TRACK SATURDAY
Spend a leisurely a day with ArtTable members attending one
of our most popular programs!
Westchester Private Collection Tour
Visit with some of the most renowned private collections in Westchester and
the newly renovated Aldrich Museum. Organized by Laura Kruger
Day in the Hamptons
Join us for a special day in the art world of the Hamptons. You will have the
opportunity to visit with private collections, artists studios, and nearby museums.
Organized by Barbara Toll
Dia:Beacon
Visit Dia:Beacon before opening hours, with a special walk-through of Michael
Heizer’s North, East, South, West. Organized by Patty Brundage
Art Organizations and Artist Studios in LIC
Get to know Long Island City, one of the fastest growing hotbeds for New York
City arts venues. Organized by Alyson Baker and Sara Armstrong
Artist Studio Visits
Visit the Chelsea studios of four prominent artists: Donald Baechler, Bernar Venet,
Jill Moser, and Jennifer Bartlett. Organized by Caroline Hansberry
On the Fringe: Williamsburg & Lower East Side
Visit some of the gallerists who established Williamsburg, Brooklyn as an emerging
artist hotbed and meet some of the latest dealers to hit the scene. In the evening
there will be a walking tour to the most talked about galleries opening in
Manhattan’s Lower East Side. Organized by Dru Arstark and Gracie Mansion
Tours of 101 Spring Street, Donald Judd’s Former Studio and Home in SoHo,
with ArtTable Member, Rainer Judd and Judd Foundation staff
Donald Judd’s former New York residence and studio space at 101 Spring Street,
was the birthplace of ‘the Permanent Installation,’ and now a hallmark of
contemporary art. Organized by Ellen Salpeter
Janet Cardiff, “Her Long Black Hair”, a Public Art Fund Audio Walk in Central Park
Janet Cardiff’s Her Long Black Hair is a journey through Central Park, retracing
the footsteps of an enigmatic dark-haired woman. Organized by Caroline Hansberry
Behind the Scenes at MoMA
Join Exhibition Curator Roxana Marcoci for a tour of Thomas Demand, the first
comprehensive survey in the United States of the artist’s work, focusing on major
pieces from 1993 to the present. Organized by Katie Hollander and Ellen Staller
NADA/NLA Breakfast and Gallery Walk in Chelsea
The New Art Dealers Alliance (NADA) and ArtTable’s New Leadership Associates
(NLA) are teaming up to present a fun, exciting, event-filled day in Chelsea.
Groups will be lead on a two-hour walking tour to some favorite exhibitions on
view. Organized by Sheri Pasquarella
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SCHEDULE
TAB FRONT
Thursday, April 7 at Sotheby’s (1334 YORK AVENUE)
TAB BACK
9:30 ~11:30am
Trendspotting in the Art World
In recent years the role of art world intermediaries (i.e. curators and critics)
seems to have diminished as the trend for collectors to establish their own
museums proliferates, artists opt to curate their own exhibitions, and anyone
can become a critic by contributing to blogs. Meanwhile, the current climate
of government, foundation and corporate support has encouraged museums
to become community centers. Panelists will explore how these trends are
driving the art world and consider how these developments can help forge
positive new models for art institutions and art criticism.
MODERATOR
Bonnie Clearwater, Director/Chief Curator, Miami MoCA
Bonnie Clearwater is the Director and Chief Curator of the Museum of
Contemporary Art, North Miami. She is the former Executive Director of
the Lannan Foundation Art Programs in Los Angeles and Director of
the Lannan Museum in Lake Worth, Florida, from 1985 to 1988 and
was an advisor to the Norton Family Foundation 1988-1989. She was
the Curator of The Mark Rothko Foundation in New York and
concurrently was the Curator of the Leonard and Evelyn Lauder
Collection also in New York. She served as an advisor to the 2002 Whitney Biennial, was
a juror for the Lucilla Award, National Museum of Art, Smithsonian Institution,
Washington, D.C., 2002, and Advisor for the Altoids Collection, 2002. She is the 2003
recipient of the American Red Cross Spectrum Award for Women, Cultural Award.
Ms. Clearwater has written extensively on Modern and contemporary art. She is the
author of an upcoming book on Mark Rothko (London: Tate Gallery Publications, 2005)
and was the author of the book Mark Rothko: Works on Paper (Hudson Hills, 1984, also
published in German and French editions). She also is the the author of Edward Ruscha:
Words Without Thoughts Never to Heaven Go (Abrams) and Roy Lichtenstein:
Inside/Outside, Frank Stella at 2000: Changing the Rules (both for the Museum of
Contemporary Art, North Miami) and is the editor and contributing author of West Coast
Duchamp (Grassfield Press) and Ana Mendieta: A Book of Works.
Ms. Clearwater received a M.A. in art history from Columbia University and a B.A.
in art history from New York University.
THURSDAY SESSIONS
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SPEAKERS INCLUDE
Lowery Stokes Sims, President, Studio Museum in Harlem
Lisa Corrin, Deputy Director of Art, Seattle Art Museum
Lowery Stokes Sims was recently appointed President of The Studio
Museum in Harlem where she has served as Executive Director since
2000. From 1972 to 1999 she worked on the educational and
curatorial staff of The Metropolitan Museum of Art, concluding her
tenure there as Curator of Modern Art. Sims received her B.A. in Art
History from Queens College, her M.A. in art history from Johns
Hopkins University and her PhD in art history from the Graduate Center of the City
University of New York. Also received in 1988 an Honorary Doctor of Humane Letters
from the Maryland Institute College of Art, in 1991 an Honorary Doctor of Art from
Moore College of Art and Design, in 2000 an Honorary Degree from Parsons School
of Design at the New School University, in 2002 an Honorary Doctor of Fine Arts from
the Atlanta College of Art and in 2003 an Honorary Degree from College of New
Rochelle and Brown University. In 2003-04 Dr Sims was also a member of the jury to
select the design for the memorial at the World Trade Center.
Lisa Graziose Corrin has been the Deputy Director of Art/Jon and
Mary Shirley Curator of Modern and Contemporary Art at the Seattle
Art Museum (SAM), the Museum’s artistic lead, since September
2001. She came to Seattle by way of The Contemporary Museum in
Baltimore, where she served as Chief Curator and Educator from
1989 to 1997, and the Serpentine Gallery in London, where she was
Chief Curator from 1997 to 2001. Under her leadership, the Serpentine has become
one of London’s premier venues for modern and contemporary art, featuring the work
of Brice Marden, Bridget Riley, Yayoi Kusama, and younger artists such as Andreas
Gursky, Chris Ofili, Mariko Mori, and Shirin Neshat. Lisa has written numerous articles
and publications.
In Seattle, Lisa collaborates with the curators and Director Mimi Gates to shape the
Museum’s artistic program. She works closely with artists and the New York-based
architectural firm of Weiss/Manfredi in developing plans for the Olympic Sculpture
Park. She also works with Director Gates, the curatorial team, and Allied Works
Architecture on the expansion of the Seattle Art Museum, and the artistic program
for the reinstallation of galleries in the new building. As Curator of Modern and
Contemporary Art she works closely with Seattle’s arts community, in addition to
researching, exhibiting and publishing the Museum’s growing collections. Exhibitions
she has curated at SAM include Do-Ho Suh, Mark Tobey: Smashing Forms & Mark
Tobey and Friends, and Baja to Vancouver: The West Coast and Contemporary Art.
She is currently involved in the development of an exhibition and catalogue on
contemporary Chinese photography.
Marguerite Steed Hoffman, Chairman of the Board, Dallas Museum of Art
Marguerite attended the University of Virginia where she received her
M.A. degree in Art History. She is a former art gallery director as well
as former owner of her own art consulting business who is currently
servicing as Chairman of the Board of Trustees of the Dallas Museum
of Art and Co-Chairman with her husband, Robert, of the Centennial
Capital Campaign of the Dallas Museum of Art. She is also a member
of the Advisory Committee of The Mind/Brain/Behavior Initiative at
Harvard University as well as a member of the Executive Committee and the
Acquisitions Committee of the Dallas Museum of Art. She has also recently served The
Child Care Group as Chairman, and Planned Parenthood of Dallas and Northeast
Texas as Chairman of the organization. Marguerite has been involved in many other
civic and community activities including the City of Dallas Cultural Affairs Commission,
Friends of the Dallas Arts District, Dallas Art Dealers Association, the Dallas Coalition
for the Arts, and the Dallas Coalition of Christians and Jews.
She has published extensively on modern and contemporary art with a special interest
in African, Native, Latin and Asian American artists. She has curated and juried
exhibitions, lectured and participated on symposia nationally and internationally. In
1991 she was the recipient of the Frank Jewitt Mather Award for distinction in art
criticism from the College Art Association. Her publication, Wifredo Lam and the
International Avant-Garde, 1923-1982 is available by University of Texas Press (2002).
Katy Siegel, Associate Professor of Art History and Criticism, Hunter College, and
contributing editor, Artforum
Katy Siegel is an associate professor of art history and criticism at
Hunter College, CUNY, and a contributing editor to Artforum. She
is the co-author of Art Works: Money (Thames & Hudson, 2004),
and the author of many essays on modern and contemporary art.
Most recent are essays on Takashi Murakami, for Little Boy, the
exhibition he curated this spring at the Japan Society (catalog
from Yale University Press), Richard Tuttle, for his retrospective at San Francisco’s
Museum of Modern Art, and the painting show this summer at the Whitney Museum,
curated by Elisabeth Sussman.
Research Assistant: Heather M. Ruth, MA candidate, Visual Arts Administration,
New York University
She is also a full-time mother to their beautiful daughter, Kate. She and her husband
both like to play golf and fly fish as well as traveling to exciting and usual places.
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THURSDAY SESSIONS
THURSDAY SESSIONS
13
W H I T E PA P E R S
Trendspotting in the Art World
By Heather M. Ruth, MA candidate,
Visual Arts Administration, New York University
In recent years the cultural landscape has dramatically changed.
Artists, refusing to be pigeonholed, work in all media and then take
on multiple roles beyond that of practitioner. Collectors are taking the
fate of their amassed collections into their own hands, without
compromise and without apology. Art critics are competing with soundbyte driven media and no holds barred weblogs. Amidst these radical
transformations, intermediaries are being lost in the do-it-yourself
culture that has permeated the art world. At the same time, institutions
are being influenced by government, corporate, and foundation
support to become community centers, while simultaneously being
encouraged to become entertainment venues.
In 1964, to describe the changing roles of artists, Allan Kaprow
wrote that as public attitudes toward art became more encompassing,
artists’ jobs were “to place at the disposal of a receptive audience
those new thoughts, new words, new stances even, that will enable
their work to be better understood.” Over forty years later, artists
have increasingly come to interface with the public, displacing the
intermediaries that once “told audiences in words what the artists were
doing in images.” In short, artists are have become increasingly
business savvy, seeking opportunities for self-promotion, curatorial
projects, and acting as their own dealers and representatives. Artists
like Cindy Sherman, in addition to her photography and brief foray
into filmmaking, have created fashion advertisements, while other
artists, such as Christo and Jeanne-Claude, completely manage their
own careers. Both the increased commodification of art and the
porosity of cultural roles have contributed to artists having taken on
numerous tasks that have turned them into curators, dealers,
marketers, and promoters.
At the same time, art collectors have taken to establishing private
museums with which to exhibit their collections, publicly defining their
personal vision, unhindered by institutional policies and mission
statements. Not only do these private operating foundations provide
tax shelters and other benefits, they increase the prominence of the
collector and the artists she chooses to exhibit. Using the ongoing legal
battles of the Isabella Stewart Gardner Museum and the Barnes
THURSDAY SESSIONS
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W H I T E PA P E R S
Foundation as cautionary tales, it is only natural to wonder how the role
of collector as philanthropist has morphed into collector as museum
founder, and how that will influence the cultural landscape.
Other facets of the art world have also seen changes, and the
intermediary known as the art critic is becoming scarce. This can be
attributed partially to reduced staffing and diminished column space in
publications, but is also contingent on the rising popularity of weblogs.
At the end of 2004, the number of weblogs on the internet was
estimated to be somewhere between four and six million, and
readership increased by 58% between February and November 2004.
Although the portion of these that are art related cannot be
determined, it is interesting to note that art blogs have gained such
popular standing that they are affiliated with Arts Journal Daily and
other online news services. The internet is both an effective and
inexpensive way to express opinions, communicate ideas, and
disseminate information. One can post, or search, an infinite number
of topics in a media that is expanding and mutating daily. On a more
cautionary note, however, the immediacy and conversational nature of
blogs leads to inaccuracies and inconsistencies as compared to printed
reviews. Furthermore, blogs serve as sounding boards for unchecked,
and sometimes uninformed, opinions. However, despite the free-for-all
quality of the World Wide Web, “American artists have embraced the
internet as a creative and inspiration-enhancing workspace where they
can communicate, collaborate, and promote their own work.”
With amateur critics making their own online forum, transcending
geography and imparting opinions, individuals are becoming more
isolated. Institutions are counteracting this technological seclusion by
creating programming focused on community development. With
government, corporate and foundation funds weighted toward at-risk
youth, crime prevention, and arts education, institutions are being
encouraged to become community centers. Of the 135 museums that
responded to the American Association of Museum Director’s survey,
forty percent reported increasing their educational programming since
January 2003. Yet rising admissions fees act as a deterrent to many
visitors, and the model of the cultural institution as community center
comes into question.
With the advent of the museum as a community center, the role of
the museum as a repository of culture is also becoming more clearly
defined. As the concepts of multiculturalism and pluralism gain
prominence, museums are being established to elevate the profile of
THURSDAY SESSIONS
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W H I T E PA P E R S
ethnic and racial groups. These ethnic-specific museums, such as the
Japanese American National Museum in Los Angeles and the
Smithsonian’s National Museum of the American Indian in
Washington, D.C., are filling a niche as civic institutions that operate as
a forum for exchange. Yet, with the increase in educational
programming and the promulgation of ethnic-specific museums,
institutions are nonetheless being encouraged to become
entertainment venues, ever striving to provide visitor amenities and
blockbuster exhibitions that will bolster visitor numbers.
From daguerreotype to digital, technology has altered the way art is
created and experienced. The democratizing quality of the internet has
provided artists with a forum to promote, market and sell their work
while amateur critics are fiercely blogging. Collectors are creating
private museums, and established institutions compete with popular
forms of entertainment as audiences are attending exhibitions
expecting to learn, to eat, to shop, and to be amused. The chameleonlike nature of individuals’ roles and how that is affecting more
traditional institutions has not yet fully played out. How are individuals
and organizations adapting to these changes and what will best serve
both artists and audiences in the future?
THURSDAY SESSIONS
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1:15 ~3:15pm
“Art”repreneurs
The women leading this session have been recognized for their
accomplishments in creating new niches in the field. They have succeeded
as viable entities and have changed or influenced the field as a whole.
This panel will also focus on different generations of entrepreneurs: What
prompted them to strike off on their own? What in the environment
encouraged or discouraged their efforts? What are the differences between
nonprofit and for profit entrepreneurial enterprises? What remains for the
next generation of “art”repreneurs?”
MODERATOR
Mary Zlot, Principal, Mary Zlot & Associates
In 1978 Mary Zlot was approached by Environmental Planning and
Research, Inc. (EPR) about developing an art consulting division for
their San Francisco based architecture and design firm. Initiating the
art consulting department at EPR led to the establishment of her own
firm, Mary Zlot & Associates, in 1983. Since inception, Mary Zlot &
Associates has provided professional curatorial guidance and
collection management services for corporate and private clients. Focusing primarily on
Modern, Post War, and Contemporary art, a partial list of the firm’s corporate clients
includes Charles Schwab & Company Corporate Headquarters, Williams-Sonoma
Corporate Headquarters, Orrick Herrington & Sutcliffe, San Francisco, Kohlberg Kravis
Roberts & Company (San Francisco and London), and Robertson Stephens (San
Francisco, New York, Boston, Chicago, and London). The firm’s private clients are
among the country’s major collectors. Mary works closely with galleries, private dealers,
auction houses, and museum curators to bring seminal examples of artists’ work to Bay
Area collections. Her hope is that these works will one day be part of the collections of
San Francisco Bay Area institutions such as the San Francisco Museum of Modern Art
and the Fine Arts Museums of San Francisco. In addition to her work as an art advisor,
Mary is interested in education. She is on SFMOMA’s Education Committee and sits on
the Board of the California College of the Arts.
SPEAKERS INCLUDE
Kathan Brown, Founding Director, Crown Point Press
Kathan Brown Founded Crown Point Press in 1962 and has owned
and directed it since then. Crown Point Press is a fine art print shop
and publisher, located at 20 Hawthorne Street, San Francisco. It works
in etching and related processes (engraving and photogravure) in its
San Francisco studios, and artists travel there to work with its printers.
From 1982 through 1992 Crown Point also produced woodcuts in
Japan, where artists traveled to work with craftsmen there. From 1987 through 1994
the Press sponsored a similar program in China.
THURSDAY SESSIONS
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Crown Point Press celebrated its twenty-fifth anniversary with an exhibition at the
Museum of Modern Art in New York, and its thirty-fifth with a retrospective jointly
organized by and shown at the National Gallery of Art, Washington, D.C. and the Fine
Arts Museums of San Francisco at the California Palace of the Legion of Honor. This
exhibition (1997) was accompanied by an illustrated catalog, Thirty-Five Years at
Crown Point Press: Making Prints, Doing Art, with texts by Ruth Fine, Steven A. Nash
and Karin Breuer, published by the University of California Press.
Laurie A. Cumbo, Director, Museum of Contemporary African Diaspora Arts
Laurie A. Cumbo is the Executive Director and Founder of the
Museum of Contemporary African Diasporian Arts (MoCADA). Ms.
Cumbo holds a Master of Arts degree from New York University in
Visual Arts Administration. She completed her undergraduate studies
at Spelman College where she received a Bachelor of Arts in Art
History. Ms. Cumbo’s educational career has been bolstered by her
extensive work experience in arts education as well as her travels abroad. She has
worked at the Brooklyn Children’s Museum, the Brooklyn Museum of Art, the
Metropolitan Museum of Art and the Grey Art Gallery. Moreover, her travels throughout
Europe, Africa, South America and North America have given her a global perspective
on arts education. She has studied at such universities as the Utrecht School of the Arts
in the Netherlands and the Fuji Studios in Florence, Italy. As a native of Brooklyn, New
York, Ms. Cumbo hopes to utilize her educational and professional experiences to bring
about an increased presence of the arts in the Borough of Brooklyn.
Ms. Cumbo’s ultimate goal is to create the first multi-million dollar, state-of-the-art
museum in the Borough of Brooklyn, dedicated towards giving contemporary artists of
African descent the opportunity to exhibit their work in an academic setting. She has
set her goal into motion in March 2000 by opening the Museum Planning
Headquarters for the Museum of Contemporary African Diasporian Arts (MoCADA) in
a building owned by Bridge Street AWME. In less than five years, the success of the
organization has been covered in the New York Times, The Daily News, Our Times
Press, The Daily Challenge, Essence Magazine, Mademoiselle Magazine, WNBC This
Weekend, New York 1 News, Fox5 Good Day NY and WABC Eyewitness News.
Rainey Knudson, Founder and Executive Director, Glasstire
Rainey Knudson is the Founder and Executive Director of Glasstire, an
online magazine about the visual arts in Texas. Before founding
Glasstire in January 2001, Knudson co-founded, published and edited
a statewide print magazine about Texas visual arts. Before that, her
career involved a peripatetic crisscrossing through law, energy, export
logistics and event planning in Houston, London, New York, and
Monterrey, Mexico. She grew up in Houston, the daughter of Sally Reynolds, a gallery
dealer and art consultant. Knudson earned her BA in English from Rice University, and
her Masters in Business Administration in Entrepreneurship from the University of
Texas at Austin. She lives in Houston with her husband Michael Galbreth, an artist.
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THURSDAY SESSIONS
Linda M. Pace, Trustee, ArtPace
Linda Pace is an artist and philanthropist based in San Antonio,
Texas. In 1995, she founded Artpace San Antonio, a respected
international contemporary art residency and exhibition program. In
the years since, Artpace has garnered recognition for supporting
the creative impulse through its residency and exhibition program,
as well as its range of educational offerings. The organization’s
history is documented in Dreaming Red: Creating ArtPace (DAP 2003), coauthored by Linda Pace. As an artist herself, she has exhibited at the San Antonio
Museum of Art and Blue Star Contemporary Art Space, as well as in commercial
galleries in Texas and Colorado. Her art gathers disparate objects into groupings in
which play between opposing characteristics, such as the valued and disregarded,
the organic and man-made, and private and public.
Susan Sollins, President, Art 21 and Co-Founder/Executive Director Emerita,
Independent Curators International
Susan Sollins is President of Art21, Inc., a non-profit contemporary art
organization serving artists, students, teachers, and the general public
nationwide. She also serves as Executive Producer/Curator of the
Emmy nominated prime-time PBS series, Art:21—Art in the TwentyFirst Century. The series will premier its third season in Fall, 2005
along with the accompanying Harry N. Abrams book; an updated Web
site (www.pbs.org/art21); and national education program, which currently serves
approximately 50,000 educators and millions of students. Sollins initiated the concept
of Art21 and its PBS series in 1996, shortly after stepping down as Executive Director
of Independent Curators International (ICI). She has been well known in the
contemporary art world for more than thirty years, having co-founded ICI, a non-profit
museum without walls that develops, organizes, and circulates traveling exhibitions of
contemporary art nationwide and abroad, in 1975. Under her leadership, ICI created
75 exhibitions which traveled to more than 360 institutions and alternative spaces in
the United States, Europe, Canada, and Mexico. Sollins began her career as a working
artist, and taught at Barnard College. She then joined the staff of the Smithsonian’s
American Art Museum as Chief, Museum Programs and Curator of Education. Sollins
is Executive Director Emerita of ICI; serves on the boards of the New York Foundation
for the Arts, the MacDowell Colony, and ICI; has been a panelist for the National
Endowment of the Arts, New York State Council on the Arts, and New York’s Percent
for Art program; and was visual arts consultant for Thirteen/WNET’s Emmy, and
Peabody Award-winning arts magazine program, City Arts.
THURSDAY SESSIONS
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Paige West, Founder and Director, Mixed Greens
Paige West is the founder and director of Mixed Greens, a
company devoted to supporting artists and disseminating
emerging and contemporary art via its Chelsea gallery and web
site www.mixedgreens.com. Founded in 1999 on the belief that
contemporary art should be accessible to everyone, Mixed Greens is
committed to doing things differently in order to introduce their artists,
and the idea of collecting art in general, to a new collecting audience. Some examples
of doing things differently include their Art Parties to introduce art to audiences in their
own homes, their online Art Registry allowing individuals and couples to register for
contemporary art like they would register for wedding presents, and most recently the
release of their educational mail order catalog of art. Since 1995 Paige has also been
the curator of the West Family Collection, her family’s emerging and contemporary art
collection installed at SEI Investments in Oaks, Pennsylvania. The collection (a private
collection housed in a public environment) currently consists of over 2,000 works
representing roughly 300 artists working in painting, photography, video, sculpture and
installation. She has produced two documentaries on artists: Art and Racing: The Work
and Life of Salvatore Scarpitta (seen on The Sundance Channel), and Worst Possible
Illusion: The Curiosity Cabinet of Vik Muniz (chosen as the opening documentary of
PBS’s 2004 Independent Lens documentary program). Her education consists of a BA
from the Colorado College, and graduate programs at Christie’s Education and NYU
Arts Administration. She has recently written a book for Regan Books, an imprint of
HarperCollins publishing, due out this winter, on the topic of collecting contemporary art.
It will be a field guide for new collectors to assist them in maneuvering through the
contemporary art market consisting of such topics as ‘Good vs. Bad Art: Who Decides?’
and ‘10 Questions to Ask While Standing in a Gallery’.
Research Assistant: Janice Monger, MA candidate, Visual Arts Administration,
New York University
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THURSDAY SESSIONS
W H I T E PA P E R S
‘ART’REPRENEURS
By Janice Monger, MA candidate,
Visual Arts Administration, New York University
Entrepreneurs think creatively and resourcefully about pursuing their
interests, forging their own paths to achieve goals that would otherwise be unrealized through existing options. Approaches to
entrepreneurship vary; many self-starters purposefully set out with a
clear mission; others may seize an opportunity that presents itself,
while some entrepreneurs would not even think of themselves as such.
Kathan Brown began with an etching press and enthusiasm for this
time-honored printmaking technique, which she was concerned would
fade away. On the other hand, Laurie Cumbo established the Museum
of Contemporary African Diaspora Art (MoCADA) by opening a
headquarters and conducting extensive feasibility and impact research,
working to make her goals of a state-of-the art museum a reality.
Those who undertake the risks of starting a business or organization
share several key attributes necessary to building a successful venture,
among which are passion, vision, dedication, and perseverance.
Business author Bob Reiss observes that “entrepreneurship is the
recognition and pursuit of opportunity without regard to the resources
you currently control, with confidence that you can succeed, with the
flexibility to change course as necessary, and with the will to rebound
from setbacks.” ‘Art’repreneurs identify unmet needs in the art world
and devote themselves to realizing their endeavors, which in turn
expands the field. The women who comprise the ‘Art’repreneurs panel
have all undertaken great risks in pursuing unconventional methods of
promoting the visual arts through establishing their own innovative
organizations. Collectively, they are involved in manifold aspects of the
visual arts, including cultivation, production, marketing, exhibition,
sales, education, and documentation.
Steadfastly pursuing their unique personal visions, ‘art’repreneurs
are nonetheless influenced by external environmental factors and must
be responsive to trends. The ‘art’repreneurs represented in this panel
span two generations that have faced differing circumstances. Consider
that merely one generation ago when ArtTable was founded, positions
in arts institutions were dominated by men; there were very few female
museum directors, trustees, gallery owners, and women artists with
gallery representation. Many women ‘art’repreneurs in the 1970s
THURSDAY SESSIONS
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W H I T E PA P E R S
circumvented the established institutional system and founded arts
organizations of their own. Women launched many of the successful
alternative spaces which emerged in the 1970s, such as the Institute for
Art and Urban Resources (P.S. 1), Creative Time, Franklin Furnace, P.S.
122, and the Drawing Center, as well as the Public Art Fund and the
New Museum of Contemporary Art. At that time, Susan Sollins
perceived a need for attention to contemporary art, particularly outside
of New York, and co-founded Independent Curators International
(ICI) to organize idea-based traveling exhibitions of contemporary art.
Entering the twenty-first century, the current generation of
‘art’repreneurs does not regard gender bias as a pertinent factor (and
may be more subject to age discrimination than anything to do with
being a woman). Women’s self-employment figures illustrate the shift
between generations as the number of women who owned businesses
increased from 1.76 million in 1976 to 3.75 million in 2000. With
advanced degrees and managerial prowess, women today occupy every
facet of the art world, from artists to administrators in both the forprofit and non-profit sectors, with more balance of representation in
these capacities. However, one constant consideration particular to
women in planning and realizing an entrepreneurial venture is
childbearing, which involves decisions of whether or not to have a
child, to work throughout pregnancy, and what to do once a child is
born. Women in the art world have devised inventive solutions, such as
building a nursery into their galleries, allowing them to experience
motherhood while continuing their professional pursuits. With gender
bias as less of a factor, today’s ‘art’repreneurs encounter other pressing
issues such as health care, which has become a significant concern
especially for small organizations and the self-employed. Additionally,
the internet represents an influential development which has provided
new opportunities for ‘art’repreneurs in the twenty-first century.
The principal aims that link each of the ‘art’repreneurial ventures
comprising this panel involve broadening and enriching contemporary
art audiences. Crown Point Press’s commitment to etching since 1962
has significantly contributed to a resurgence of interest in this
printmaking medium and has furthered the careers of many esteemed
artists. ArtPace, the alternative space founded by Linda Pace, has put
San Antonio on the art map, as it is ‘art’repreneurial in its location and
approach to programming. With coinciding artist residencies and
exhibitions for a local, national, and international artist, as well as
travel grants for San Antonian artists, ArtPace creates an awareness in
THURSDAY SESSIONS
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W H I T E PA P E R S
San Antonio of its context in a global art community. Recognizing the
need to make acquiring contemporary art less daunting, Paige West
founded Mixed Greens in 1999 to support emerging artists and
collectors by changing the art buying experience. Unlike conventional
galleries, Mixed Greens facilitates art buying in a more straightforward
and nurturing manner by offering art for sale online and providing
services such as consulting and in-home art parties, in order to
encourage new art audiences and make art collecting more accessible.
Capitalizing on the World Wide Web as a global marketing and
communications resource, Rainey Knudson started Glasstire.org, an
online journal that publicizes Texan art events, reviews, and features
through a dynamic, user-friendly web site. Glasstire.org serves as a
virtual forum for creating awareness and encouraging discussion
about art in Texas. As Executive Producer and Curator of Art:21, Susan
Sollins brings contemporary art out of the exhibition space and
into homes through the influential medium of public television. This
groundbreaking documentary series that features leading contemporary artists reaches non-museum-going audiences and connects
them with the ideas, personalities, and processes behind often
challenging works of art while providing vital documentation of
contemporary art production. Braving the increasingly competitive
non-profit art realm, Laurie Cumbo has established MoCADA in
Brooklyn to serve the largest black neighborhood in New York and
educate about the dispersal of people of African descent through
recognition of their artistic contributions.
Having successfully initiated revolutionary visual art ventures, the
‘art’repreneurs on the panel offer informed analysis and insight into
their own undertakings, comment on the state of entrepreneurship in
the visual arts, and consider what is to come.
THURSDAY SESSIONS
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W H I T E PA P E R S
Sources
Ault, Julie, ed. Alternative Art New York, 1965-1985: A Cultural Politics Book
for the Social Text Collective. Minneapolis: University of Minneapolis Press,
with the Drawing Center, New York, 2002.
“Best Practices in Supporting Women’s Entrepreneurship in the United States:
A Compendium of Public and Private Sector Organizations and Initiatives.”
National Women’s Business Council. Washington, D.C., June 2004.
Brush, Candida, et. al. “Women Becoming Entrepreneurs” from Clearing
Hurdles: Women Building High-Growth Businesses. Prentice Hall Professional
Technical Resource. 19 February 2005.
<http://www.phptr.com/articles/article.asp?p=336260>
De Coppet, Laura and Alan Jones. The Art Dealers. Revised and expanded
edition. New York: Cooper Square Press, 2002.
“Dynamics of Women-Operated Sole Proprietorships, 1990–1998.” Office of
Advocacy, U.S. Small Business Administration. Washington, D.C., March 2003.
“Entrepreneurship in the 21st Century.” Office of Advocacy, U.S. Small
Business Administration and Ewing Marion Kaufmann Foundation.
Conference proceedings, March 26, 2004.
Fauntleroy, Gussie. “Women in the Arts.” Southwest Art June 2000: 112-116.
Gandy, Kim. “Pay Equity: A Long Overdue Step in the Road to Equality.”
National Organization of Women, press release, April 29, 2003.
Hupalo, Peter I. “Entrepreneur: What’s In a Definition?”
Thinking Like An Entrepreneur. 19 February, 2005
<http://thinkinglike.com/Essays/entrepreneur-definition.html>
Landi, Ann. “Dealing With It: Women Art Dealers.” ArtNews May 1997: 148-49.
Landi, Ann. “Museum-Quality Women.” ArtNews May 1997: 146-49.
Larson, Kay. “We’ve Come a Long Way…Maybe.” ArtNews May 1997.
Meyers, Laura. “The Feminine Mystique: Powerful Women in the Arts.”
Art Business News October 2000: 92-95.
WEBSITES:
www.art21.org
www.artpace.org
www.crownpoint.com
www.glasstire.org
www.mixedgreens.com
www.mocada.org
THURSDAY SESSIONS
31
3:30 ~5:30pm
Women as Institution Builders
Women have emerged in recent years as institutional leaders in the field
– and some have distinguished themselves by creating entire institutions
through their force and abilities. While women now work in the visual arts
field en masse, how many have successfully reached positions of senior
leadership? What are the current statistics on the ratio of women to men at
this level? Realizing that the number of women to men is quite small in this
role, what factors contribute to this trend? With so many women working
in the arts profession, why are so relatively few running – and building –
our institutions?
MODERATOR
Emily K. Rafferty, President, Metropolitan Museum of Art
Emily Kernan Rafferty is President of The Metropolitan Museum of
Art, a post she assumed in February 2005 after serving for six years
as its Senior Vice President for External Affairs. As chief
administrative officer for the nation’s largest and most comprehensive
art museum, she is responsible for supervising more than 2,500
museum employees in such areas as development, membership,
technology and information services, human resources, merchandising,
communications, legal affairs, government relations, finance, security, and construction.
She also serves as an ex officio member of the Museum’s Board of Trustees.
In her previous executive role in the area of External Affairs, she held responsibility for
the strategic planning for and implementation of all of the institution’s development,
membership, and fundraising activities, along with special events, admissions, and
visitor services. She served also as a key member of the Museum’s executive
management team, and liaison to the Board of Trustees External Affairs Committee.
She led the effort to create and manage the Metropolitan’s web site, and to create and
implement its multi-cultural audience and membership initiative.
Ms. Rafferty has served on the staff of The Metropolitan Museum since 1976. She
began her twenty-eight-year career at the Met as an Administrator for Corporate,
Foundation and Individual Fundraising, and then served as Manager of Development
from 1981 through 1984. From 1984 through 1996 she was Vice President for
Development and Membership. She was promoted to Senior Vice President for
Development and Membership in 1996, then to Senior Vice President for External
Affairs in 1999.
She began her professional career in 1971 as an assistant to David Rockefeller, Jr. in
Boston, focusing on his interests in the arts, education, and philanthropy. From 1973
through 1975 she was deputy director of education at Boston’s Institute of
Contemporary Art.
Born and raised in New York City, Ms. Rafferty earned her B. A. degree cum laude from
Boston University.
THURSDAY SESSIONS
33
SPEAKERS INCLUDE
Anne d’Harnoncourt, Director, Philadelphia Museum of Art
Anne d’Harnoncourt began her career at the Philadelphia Museum of
Art as a curatorial assistant in 1967. With the exception of two years
as an assistant curator of twentieth-century art at The Art Institute of
Chicago, she has served her entire career at the Philadelphia Museum
of Art. She was named curator of twentieth century art in 1971 before
becoming Director in 1982. In 1996, the board of trustees voted to
add the designation chief executive officer to her title.
A graduate of Radcliffe College and the Courtauld Institute of London University, Anne
d’Harnoncourt is internationally respected as both an art historian and administrator.
Under her leadership, the Museum has greatly expanded its artistic, professional and
financial base, and broadened the reach of its education and community programs. In
the year 2000, the Museum acquired a landmark building across the street, and
embarked upon a comprehensive master plan for its use and for the consequent
redeployment of space in the main building. In the same year, 20 galleries for modern
and contemporary art were renovated and reopened. Miss d’Harnoncourt has also
spearheaded the 2001 Fund, a capital campaign which raised $246 million for the
Museum’s endowment and building projects, and coincided with a successful effort to
build the collections through gifts in honor of the Museum’s 125th anniversary.
During her tenure as curator, Miss d’Harnoncourt organized such major exhibitions as
Marcel Duchamp (1973) and in her role as director has been the catalyst for the
Museum’s distinguished series of critically-acclaimed loan exhibitions devoted to
topics as diverse as Cézanne (1996), The Splendor of 18th Century Rome (2000),
Barnett Newman (2002), and The Art and Fashion of Elsa Schiaparelli (2003).
Peggy Loar, Director, COPIA
Peggy A. Loar, President and Founding Director of COPIA: The
American Center for Wine, Food & the Arts, has been leading the new
center since 1997—from idea to reality and opening in 2001. She
was responsible for assembling the professional team, launching the
required fundraising, and overseeing COPIA’s architectural
development. Designed by James Polshek of Polshek Partnership,
COPIA’s facilities and grounds include exhibition galleries, performing arts spaces, a
museum store, Julia’s Kitchen dining room, The American Market Café and acres of
organic Edible Gardens containing outdoor sculptures. Prior to COPIA, Loar served as
President and Founding Director of the internationally acclaimed Wolfsonian Museum
and Research Center, directing the design and development of two museum sites in
Miami, Florida, and Genoa, Italy, overseeing its international public/private fundraising
efforts, and guiding the conceptual and programmatic design for the museum’s
renowned collection of American and European design and decorative arts. Previously,
Loar spent nine years as Director of the Smithsonian Institution Traveling Exhibition
Service (SITES), where she was awarded the Smithsonian Institution’s Gold Medal for
34
THURSDAY SESSIONS
Exceptional Service. She also served as the first Deputy Director of Programs and
Policy for the Institute of Museum Services (now IMLS), and as Curator of Education
and Assistant Director at the Indianapolis Museum of Art. Her public service includes
advisory roles relating to the arts and humanities for numerous organizations, including
the American Association of Museums. As the immediate past president of the U.S.
national committee of the International Council of Museums, AAM-ICOM, she received
recognition for her outstanding leadership and invaluable service to the museum
profession, 1996-2002.
A native of Cincinnati, Loar holds a B.A. and M.A. in the History of Art from the University
of Cincinnati, and is a graduate of Stanford University’s Arts Leadership Program at the
Stanford Graduate School of Business, Paolo Alto, California.
Susana Torruella Leval, Director Emerita, El Museo del Barrio
Susana Torruella Leval was Director of El Museo del Barrio, the
nation’s leading Puerto Rican, Latino and Latin American Museum,
for eight years (1994 –2002), after serving there as Chief Curator for
four years. She was named Director Emeritus of El Museo del Barrio
by the Board of Trustees in May 2002. As Director El Museo del
Barrio, Ms. Torruella Leval oversaw the renovation of its exhibition
galleries and beautiful Teatro Heckscher, the presentation of around 100 exhibitions,
and the quadrupling of the museum’s budget and staff. During her tenure, El Museo
del Barrio received the New York State Governor’s Arts Award in 1999. Her leadership
helped secured key institutional grants: National Arts Stabilization Grant, 1993;
Institute of Museum Services Grant, 1996; Lila Wallace Reader’s Digest five year
award for Collections Accessibility, 1997; a Capital Project and Earned Income grant
from the Upper Manhattan Empowerment Zone, 1999; and a $1 Million Endowment
grant from the Ford Foundation, the first in El Museo’s history, in 1998. Ms. Torruella
Leval secured over $4 million in capital funds from the City of New York between
1996 and 2000, and raised $900,000 in relief funds after 9/11 from The Mellon
Foundation and The Carnegie Foundation.
In July 2002, Susana Torruella Leval was appointed by Governor Pataki to the New
York State Council on the Arts, and by Mayor Michael Bloomberg to the Panel for
Educational Policy of the City of New York, where she served until March 2003.
Since September 2002 she is a member of the Board of Trustees of The
Metropolitan Museum of Art, and a member of the Board of the Museum of Jewish
Heritage since 2003.
THURSDAY SESSIONS
35
Marcia Tucker, Founding Director, New Museum of Contemporary Art
Marcia Tucker is a freelance art critic, writer, and lecturer living and
working in New York City. From 1977 to 1999, she was the
Founder and Director of the New Museum of Contemporary Art, a
museum dedicated to innovative art and artistic practice. There, she
organized such major exhibitions as The Time of Our Lives (1999),
A Labor of Love (1996), and Bad Girls (1994), and was co-curator
of a retrospective exhibition by the Catalan artist Perejaume at the Museum of
Contemporary Art in Barcelona in 1999. She is the series editor of Documentary
Sources in Contemporary Art, five books of theory and criticism published by the
New Museum.
Ms. Tucker was Curator of Painting and Sculpture at the Whitney Museum of American
Art from 1969 to 1977, where she organized major exhibitions of the work of Bruce
Nauman, Lee Krasner, Joan Mitchell, and Richard Tuttle, among others. She was the
1999 recipient of the Bard College Award for Curatorial Achievement, and received
the Art Table Award for Distinguished Service to the Visual Arts in 2000. She has
taught, lectured and published widely in America and abroad. From 1997 to 2001, Ms.
Tucker also led a secret life as stand-up comic Mabel McNeil, whose alter-ego, “Miss
Mannerist,” dispensed art world advice for career-impaired artists, visually challenged
curators, and “big-fish-in-a-small pond” wanna-bees.
Research Assistant: Jennifer Sudul, PhD candidate, Institute of Fine Arts,
New York University
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THURSDAY SESSIONS
W H I T E PA P E R S
Women as Institutional Builders
Jennifer Sudul, PhD candidate,
Institute of Fine Arts, New York University
“If you wish your schools of science and art to be effective, your health, the air,
your food to be wholesome, your life to be long, your manufactures to improve,
your trade to increase and your people to be civilized, you must have museums of
science and art to illustrate the principles of life, health, nature, art and beauty.”
—KATHERINE COFFEY, DIRECTOR , NEWARK MUSEUM
“[P]eople are always going to fight, but with our knowledge of disharmony, we
also know that the better people understand each other, the better they are able
to smooth out their difficulties. Now a piece of Chinese porcelain can be used to
create an understanding of the Chinese – sympathy toward their point of view
in regard to things.” —L AURA M. BRAGG, DIRECTOR , CHARLESTON MUSEUM
In 1971, Linda Nochlin answered her own question, “Why are there
no great women artists?” with the assessment that previous social
conditions limited women’s access to the resources and education
that would enable them to become artists of a Michelangelo or Titian
stature. Nochlin also examined the constricted societal positions and
expectations that restricted women primarily to the domestic sphere.
Women’s involvement in museums over the last two centuries follows a
similar narrative. Although both men and women pursued advanced
degrees in the fine arts since the inception of such graduate programs
(one of the first MA’s was awarded at Vassar in 1876, six years before
all-male Princeton appointed Allan Marquand as their first professor of
art history), women advanced in the field within the prescribed
structure that corresponded with the socially-endorsed role of women
as educators, volunteers and support staff to male administrators
regardless of their degrees. Examining the biographies of early women
in museums elucidates the variety of approaches women developed to
succeed as institution builders.
As early as the 19th century, women directors emerged organically
from the volunteer work and social causes often associated with women
of a certain class. In 1853, a year that also included the first Women’s
Rights Convention (held in New York City), Ann Pamela Cunningham
began a campaign to resuscitate George Washington’s home of Mount
Vernon by calling upon the “women of the south” to save the site as
THURSDAY SESSIONS
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W H I T E PA P E R S
part of their patriotic duty. Social organizations such as the Daughters
of the American Revolution had, as part of their mission, overseen
the restoration and preservation of the nation’s historic sites;
Cunningham’s initiative can be seen as an extension of this encouraged
women’s role. Impressively, Cunningham mobilized a nation under the
rubric of the Mount Vernon’s Ladies Association (which appointed Vice
Regents from various regions to disperse fundraising responsibilities
and community involvement, much like the DAR organizational
structure) to raise money for the purchase price ($200,000 paid to
George Washington’s great-grandnephew) and the renovation of the
property and its opening to the public which Cunningham oversaw.
Education, another conventionally feminine role, also provided an
entry into the museum profession as Kendall Taylor examined in her
essay “Pioneering Efforts of Early Museum Women.” Anna Billings
Gallup, one of the founding members of the American Association of
Museums, demonstrated to many women who would forge a career in
museum administration that the museum could be an alternative site
for education. Gallup taught biology for four years and had an Sc.B.
degree from M.I.T. before joining the newly formed Brooklyn
Children’s Museum in 1901, becoming a curator in 1904, a role that
would later expand to include extensive fundraising campaigns for the
museum. She had an incisive vision for the museum:
A museum can do the greatest good and furnish the most effective
help to the boys and girls who love it as an institution, who take pride
in its work for them and with them, and who delight in their association
with it. To inspire children with this love and pride in the institution,
they must feel that it is created, and now exists for them, and that in all
of its plans it puts the child first. The child must feel that the whole
plant is for him, that the best is offered to him because of faith in his
power to use it, that he has access to all departments, and that he is
always a welcome visitor, and never an intruder.
Although the audience in Gallup’s statement is specifically children,
her succinct philosophy extends to all ages. Gallup’s pioneering role
had even greater importance as she took her mission beyond Brooklyn.
Laura M. Bragg, who visited Gallup often while teaching at Columbia
University, would go on to implement Gallup-style community
outreach to the polarized racial communities in Charleston, South
Carolina, during her tenure as director of the Charleston Museum.
Gallup also toured Europe to examine other museums; after the success
of the Brooklyn Children’s Museum, she visited Brazil, Colombia,
THURSDAY SESSIONS
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W H I T E PA P E R S
India, Australia and New Zealand to promote the museum’s potential
as a unique educational facility.
Gallup was not the only woman museum official to adopt the socially
dynamic role of cultural ambassador. Women would become
increasingly prominent in this role, maybe taking a cue from the active
social role that Eleanor Roosevelt adopted as first lady in the 1930s.
Grace McCann Morley, a curator at Cincinnati Museum in the 1930s
and the first director of San Francisco Museum of Art in 1935,
commanded an international profile as the first head of the museum
division of United Nations Educational, Scientific and Cultural
Organization (UNESCO) and one of the founders of the International
Committee of Museums.
Women could also “work their way up” from an administrative role
into a managerial position. Juliana Force, one of the most venerated
women museum directors of the 20th century, began her career as
Gertrude Whitney’s secretary. By 1908, however, Whitney had Force
buying works for her collection; when Whitney opened her museum in
1930, she appointed Force director, a position she held until her death
in 1948. Similarly, Cornelia B. Sage Quinton began her museum career
in 1904 as an assistant secretary at the Buffalo Fine Arts Academy. Six
years later, Albright Art Gallery appointed her director, the first woman
to direct an art museum in the United States. She would later become
one of the founding members of the AAMD.
The Newark Museum encouraged both women professionals and
the broadening of the audience for general museum education. When
founding director John Cotton Dana retired in 1929, he was succeeded
by two of his curators, first Beatrice Winser and followed by Alice W.
Kendall. When Kendall retired, Katherine Coffey assumed the post.
Coffey in particular was a pioneer within her institution and an
influence on generations to follow. In 1925, she left her position as the
executive secretary of the Alumnae Association of Barnard College
(from which she graduated with an A.B. in 1922) to become the staff
assistant to John Cotton Dana. Although she did not become the
director of the museum until 1949, Coffey’s contribution had
ramifications within the museum and beyond. When the Newark
Museum opened its new building in 1926, Coffey designed and
installed the special exhibitions in addition to coordinating the
educational programs (Winser would officially make her curator of
these areas in 1929). Most importantly, she created with Dana the
museum training program, which, unlike Harvard’s Fogg Museum
THURSDAY SESSIONS
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W H I T E PA P E R S
program, addressed all types of museums, not just those devoted to art.
The training program targeted college graduates, but Coffey also
initiated a Junior Museum and Museum Club for younger students and
during the Depression, began adult art classes. Like Gallup, Coffey
toured Europe to examine their museums and initiated contact with
museum programs internationally. Also, like these women, Coffey and
the programs she oversaw impacted the immediate community directly
and subsequent generations through her educational programs and her
stature as a professional mentor.
While women still assumed many of these positions – as volunteers,
educators and support staff – the rise of women museum directors
swelled with the momentum of the 1970s feminist movement as
revealed by the numbers of women elected by decade to the AAMD.
From 1920 to 1960 an average of three women joined per decade with
only one woman, Jean Sutherland Boggs from the National Gallery of
Canada joining from 1960 to 1970. The number doubles in the 1970s
to six, triples in the 1980s to thirty-nine and rises to forty-six in the
1990s. While these are not all-inclusive statistics – Marcia Tucker at the
New Museum of Contemporary Art (founded in 1977) and Alanna
Heiss at PS 1 (founded in 1971) are not elected in this decade, for
example – these numbers indicate the increasing numbers of women
ascending to top administrative posts in museums across the nation
over the past three decades.
These numbers may imply an impressive rapidity, but there are lacks
here, as well. According to a 1998 College Art Association survey, women
received 66.5% of the Ph.D.s in the country. Yet, women only accounted
for 34% of the 2003 AAMD membership and men still run most of the
major institutions and curatorial departments. Linda Shearer, currently
the director of the Contemporary Arts Center in Cincinnati and
formerly the director of Williams College Museum of Art and Artists
Space in New York City, has commented on why many women are found
at smaller institutions: “At large museums, staffing and hiring of
directors reflects the corporate model. A lot of the college and university
museums are run by women, alternative kinds of institutions are also
run by women. They leave large institutions when they get to the glass
ceiling and say, I want less of a hierarchical structure and a more flexible
place where I can have a hand in designing what happens. While some
of the major museums are run by women, it’s very much a minority.”
How are we to explain and rectify these imbalances? And are there
ways to reverse the stigma of sexism? If women are traditionally
THURSDAY SESSIONS
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W H I T E PA P E R S
associated with education and community outreach and activism, does
this make them better ambassadors for the museum, both within their
immediate community, on a national level and internationally? The
citations from Coffey and Bragg that begin this essay bespeak the
intention of the museum to broker relationships between disparate
cultures in troubled times to set humanity on a more even keel, to
encourage tolerance, acceptance and celebrations of otherness. In the
current political climate, this mission has become most urgently
pressing. Is there a cultural heritage that enables women to perform
this role with the most sensitivity and agility? Is this the special role that
a woman museum director can perform on the international stage?
And how to ensure that she is allowed the opportunity?
THURSDAY SESSIONS
45
Friday, April 8 at Sotheby’s
10:00am ~ Noon
Feminism & the Feminization of the Art World
This panel will explore Feminism and its influence on art professions both
historically and in regard to its contemporary relevance. This inquiry will be
coupled with a related phenomena—the ‘feminization’ of the art profession. As
in the teaching and nursing professions, the art field needs to acknowledge
that the majority of its work force is female- and white- and the salary scales
are low for such a complex profession. The art field has always been
“feminized” to a certain extent, but what are the consequences for the
profession now? How are the issues of feminism and feminization intertwined?
MODERATOR Ruth Weisberg, Dean, School of Fine Arts, University of
Southern California
Ruth Weisberg is Dean of Fine Arts at the University of Southern
California. As an artist Weisberg works primarily in painting, drawing
and large-scale installations. Recent honors include Doctor of
Humane Letters, honoris causa, Hebrew Union College, 2001,
College Art Association Distinguished Teaching of Art Award 1999,
Visiting Artist at the American Academy in Rome 1995, 1994 and
1992 and the National Endowment for the Humanities Seminar in 1994. As an artist,
Weisberg has been a particularly active exhibitor with over seventy solo and 160 group
exhibitions. Her work is included in sixty major Museum and University collections
including the Achenbach Foundation for Graphic Arts, Fine Arts Museum, San
Francisco, California, The Art Institute of Chicago, Chicago, Illinois, The Biblioteque
Nationale of France, Paris, France, Istituto Nationale per la Grafica, Rome, Italy, Los
Angeles County Museum of Art, Los Angeles, California, The Metropolitan Museum of
Art, New York, New York, The National Gallery, Washington, D.C. and the Whitney
Museum of American Art, New York, New York.
SPEAKERS INCLUDE
Dr. Heidi Hartmann, President, Institute for Women’s Policy Research
Heidi Hartmann is the President of the Washington-based Institute
for Women’s Policy Research, a scientific research organization that
she founded in 1987 to meet the need for women-centered, policyoriented research. She holds a Ph.D. degree from Yale University in
economics. Dr. Hartmann is also a Research Professor at George
Washington University.
Dr. Hartmann is a co-author of Unnecessary Losses: Costs to Americans of the Lack
of Family and Medical Leave; Equal Pay for Working Families; and Survival at the
Bottom: The Income Packages of Low-Income Families with Children. She has
published numerous articles in journals and books and her work has been translated
FRIDAY SESSIONS
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into more than a dozen languages. She lectures widely on women, economics, and
public policy, frequently testifies before the U.S. Congress, and is often cited as an
authority in various media outlets.
Prior to founding IWPR, Dr. Hartmann was on the faculties of Rutgers University and
the New School for Social Research and worked at the National Research
Council/National Academy of Sciences. In 1994, Dr. Hartmann was the recipient of a
MacArthur Fellowship Award for her work in the field of women and economics, and,
in 1995, she received an honorary Doctor of Law degree from Swarthmore College,
her alma mater. She is Vice-Chair of the National Council of Women’s Organizations.
Sarah Elizabeth Lewis, Curatorial Assistant, Museum of Modern Art
Sarah Lewis graduated from Harvard University in 2001 with a BA
(Magna Cum Laude, Phi Beta Kappa) in Social Studies and History
of Art and Architecture. She was a Rhodes scholar finalist and was
awarded the Marshall Scholarship upon graduation for graduate
study in England. She received her MPhil at Oxford University in
Economic and Social History in 2003 and wrote her dissertation on
the impact of the traditional African Art market on contemporary works from West
Africa, specifically from Mali. She then received an MA at the Courtauld Institute of Art
in 2004 and focused her dissertation on the work of Ellen Gallagher, Wangechi Mutu,
and Senam Okudzeto. Her writing has been featured in Art in America as well as in
catalogue essays for SITE Santa Fe (2004) and the Greater New York exhibition at
P.S. 1 Contemporary Art Center. Sarah has worked in a number of museums, such as
the Museum of Fine Arts, Boston, the New Museum of Contemporary Art, Tate
Modern, London and now at the Museum of Modern Art in the Department of Painting
and Sculpture where she is working on a retrospective of painter Elizabeth Murray with
curator and Professor Robert Storr. She is also the Founder of Studio Sessions, a nonprofit organization that fosters the creative and intellectual development of young
people in New York City’s Public Schools and is a board member for A Long Walk
Home, a non-profit organization that uses art to document, educate and end violence
committed against women.
48
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Linda Nochlin, Lila Acheson Wallace Professor of Modern Art, New York
University, Institute of Fine Arts
Dr. Linda Nochlin is currently the Lila Acheson Wallace Professor of
Modern Art at the Institute of Fine Arts/New York University, where
she earned her doctorate in Art History in 1963. Prior to assuming
this position, Nochlin served as Professor of Art History at Yale
University, as Distinguished Professor of Art History at the Graduate
School and University Center of the City University of New York and
as the Mary Conover Mellon Professor of Art History at Vassar College, her
undergraduate alma mater. She is known widely for her work on Gustave Courbet – a
painter of interest to her since embarking on her doctoral dissertation, as well as for
her seminal publications on Realism, Impressionism and Post-Impressionism and, of
course, for her ground-breaking work to advance the cause of women artists,
beginning as early as 1971 with her article, “Why Have There Been No Great Women
Artists?” Sparking a major development in art history and criticism, that early work led
to the 1976 exhibition, Women Artists: 1550-1950, which Nochlin curated with Anne
Sutherland Harris for the Los Angeles County Museum of Art; the show was
accompanied by the catalogue of the same title co-authored by both scholars.
Nochlin has written numerous books and articles focusing our attention on social and
political issues revealed in the work of artists, both male and female, from the
modernist period to the present day. She is renown within the intellectual, art historical
community is international in scope. Nochlin has been invited to address scholarly
audiences in Amsterdam, Paris, London, Berlin, Ottawa and Hong Kong and her
writings have been published in numerous languages.
Dr. Nochlin is a Contributing Editor of Art in America. She is a Fellow of the American
Academy of Arts & Sciences and of New York University’s Institute for the Humanities
as well as the American Philosophical Society
Research Assistant: Jung-Hae Chae, MA candidate, Visual Arts Administration,
New York University
FRIDAY SESSIONS
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W H I T E PA P E R S
Feminism and Feminization of the Art World
By Jung-Hae Chae, M.A. candidate,
Visual Arts Administration, New York University
The increasing participation seen in today’s art institutions by
women artists, scholars, administrators, philanthropists, and patrons
traces its beginnings and owes much of its success to the feminist
movement of the last half of the 20th century. Although successful
entrenchment by women in the arts varies in terms of the categories of
art professions, it is fair to say that in recent years, the art world has
been seen to be feminized to a certain extent. Viewed against the
background of the feminist struggle of the past decades, the current
feminizing trend in the arts profession deserves special attention within
the art world. The purpose of this panel on “Feminism and
Feminization of the Art World” is then not only to revisit feminism as a
source that has contributed to the current state of the arts and examine
its impact on the role women play in the present art world but also to
place the feminizing trend in the arts profession into the context of the
general feminist discourse in an attempt to better grasp the
relationship between these two forces and ideas.
When one of the leading feminist art historians, Dr. Linda Nochlin,
proposed and then answered the question “Why have there been no great
women artists?” back in 1971, she called into question not only the
ideological framework that has shaped the way we had come to think
about the history of western art and the role women played in it but also
our “natural” assumptions about the myth of the artistic genius that the
white, male-dominated social institutions of our times had systematically
led us to believe.1 Owing chiefly to the feminist critique that emerged as
the champion of the collective women’s voice, the contemporary woman,
independent and career-minded, gained a solid ground in the arts
professions. Empowered by support networks of like-minded women, the
influence of women in the arts field deepened as women defined their
own terms of engagement, while challenging and undoing everything
from the status quo to the artistic canon that had been neatly laid before
them by the ‘old boy’s club.’ Taking ownership of their intellectual
position as the underdog, they took back what had been denied to them
in the years past, one professional opportunity at a time.
Now, as the age-old struggle for women’s equality and legitimacy in
this society at large continues to gain ground, a time for self-reflection
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W H I T E PA P E R S
may be in order. When the arts community looks back on itself, it may
see something that deserves both recognition and a note of caution.
The work that has been achieved by women devoted to the many arts
professions—artists, art historians, arts managers/administrators at
museums, galleries, nonprofit alternative art spaces, art collectors,
philanthropists, advocates, educators, policy makers, entrepreneurs,
and more—must be recognized and celebrated for the contribution
and for the progress these women have collectively helped achieve. At
the same time, it must be noted that in an industry where the majority
of its workforce is female and white, with many who are overworked and
under compensated, the arts sector must grapple with these realities as
foregrounding issues as well.
Despite the lack of a single, all-encompassing statistic that provides a
definitive picture of the compensation benchmarks in the arts industry
as a whole, the reality of the wage gap that exists between men and
women in the general working population seems also to hold true in the
arts sector. According to a recent U.S. Census Bureau report, women
earned 76 cents on the dollar as compared with men in 2003.2 Similarly,
the latest salary surveys issued by various nonprofit organizations
including the Association of Art Museum Directors all seem to support
the fact that female professionals in the arts are paid less than their
counterparts, with exact figures for the discrepancy ranging anywhere
from around 70% to 95%, depending on the different statistical
variables and factors used in the studies.3 Interestingly, the studies point
out that female chief executives are not only paid less but are also less
likely to hold top posts at large nonprofit organizations. In fact, the pay
gap is greatest among the largest nonprofit groups. Among those with
annual budgets in the upwards of $50 million range, the median salary
for male chief executive officers was almost 50% higher than that for
women, according to a general nonprofit sector survey.4 Together with
these observations, other research findings seem to suggest that
significant pay differences remain that cannot be attributed to factors
such as experience and education. Are these discrepancies more or less
consistent with the differential pay grades for men and women found
in other fields and the general working population? What conclusions
can we draw along the lines of these parallel/distinguishing
characteristics when we compare the arts sector with other industries?
Additionally, how might gender fit in with other social markers or
characteristics such as income, education, and ethnicity in defining the
picture that has been evolving in terms of employment trends in the
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W H I T E PA P E R S
arts? Along these lines, has the art sector been proactive about
recruiting minority women (and men)?
It is not yet altogether clear whether the struggles of the early
feminist movement have now been eclipsed by another reality of our
time--the apparent saturation of the arts sector’s workforce with women.
This “feminization” trend in the arts has now been recognized by many
as corollary to those observed in other professions traditionally held in
large numbers by women such as nursing and teaching, which begs the
question “What is it about the arts as a discipline that draws more
women than men to this field?” Are there particular characteristics that
make it inherently more attractive to the feminine psyche than to the
male counterpart? What can we make of this feminization
phenomenon? Is it a kind of equalizing effect or a cause for concern?
Can we expect a backlash to the current situation such as counterfeminist movement to thwart our forward progress? What other issues
should we be aware of in grappling with the current situation?
The question of how the early forces and ideas of feminism are
intertwined with the feminizing trend we now see in the arts profession
certainly deserves more attention than it is currently receiving. To begin
with, we will need more research initiatives that will be able to ascertain
and track information on issues relevant to women in the arts and that
will help inform the underlying motives or reasons for the current
situation, elements of which are contained in some of the questions that
have been raised in this paper. The hope is that such initiatives will go
far in raising our level of understanding about the complex ideological
and social forces that are at play in the evolving art world.
End Notes:
1
Linda Nochlin, Women, art, and power: and other essays (New York: Harper
& Row, 1988).
2
U.S. Census Bureau, www.census.gov.
3
Chronicle of Philanthropy Salary Surveys, <www.philanthropy.com/stats/
managing/salarysurveys.htm, Council on Foundations Grantmakers Salary
and Benefits Report, www.cof.org/files/Documents/Research/2003%20Salary/
2003_Salary_Report_Executive_Summary.PDF>, AAMD Salary Survey, 2004,
www.AAMD.org, GuideStar Nonprofit Compensation Report, 2003,
www.guidestar.org
4
Lipman, Harvy “Unbalanced Pay Scales” Chronicle of Philanthropy v. 13 i. 16
http://philanthropy.com/free/articles/v13i16/16003301.htm, last accessed
6/3/2004
FRIDAY SESSIONS
55
2:15 ~4:15pm
Women as Patrons
What prompts women to become patrons and contribute so significantly to
the arts? Do women play a role in giving different from men? Additionally,
a new trend has surfaced wherein arts organizations are courting young
patrons. What factors have created this trend and how is this different
from how you, yourself, became involved in the causes that you support?
MODERATOR Dorsey Waxter, Director, Greenberg Van Doren Gallery
Dorsey Waxter has lived and worked in the New York City artworld for
the past 32 years. After completing her undergraduate degree in Art
History at Denison University, she came to New York in 1973 and
began working at Nancy Hoffman Gallery. In 1977 she joined the
André Emmerich Gallery which specialized in Color Field and postWar painting and sculpture. Wanting to see a different side of the art
world, she established Dorsey Waxter Fine Art, an art advisory business. After 8 years,
she merged her business into her present position as Director of Greenberg Van
Doren Gallery, where, for the past 6 years, she continues to work with not only historic
material but living artists.
SPEAKERS INCLUDE
Iris Cantor, Chairman, Iris and B. Gerald Cantor Foundation
Iris Cantor, a native of New York, is chairman and president of the Iris
and B. Gerald Cantor Foundation. She and her husband, B. Gerald
Cantor (1916-1996), established the Cantor Foundation in 1978 to
fund the visual arts as well as medical, educational and cultural
institutions and programs in the U.S. and abroad. Her passion for
advancing women’s healthcare has informed her innovative
philanthropic goals—the establishment of comprehensive women’s health centers on
both coasts—at UCLA Medical Center and at New-York Presbyterian Hospital.
As a result of Mrs. Cantor’s passion for and involvement in the visual arts, she serves
as a trustee for two major museums in the United States—The Los Angeles County
Museum of Art and The Metropolitan Museum of Art. She collaborated with her
husband, B. Gerald Cantor, and is widely recognized for creating the world’s largest
and most comprehensive private collection of sculpture by the great French master
Auguste Rodin. They amassed over 750 large-and small-scale sculptures plus prints,
drawings, photographs and Rodin memorabilia. Through the Cantor Foundation,
exhibitions and programs share the collection with the public. In addition, the Cantors
have donated more than 450 Rodin works to over seventy institutions around the
world and have endowed numerous galleries, sculpture gardens and scholarly chairs
at major museums and universities.
FRIDAY SESSIONS
57
Agnes Gund, President Emerita, Museum of Modern Art
Agnes Gund is President Emerita of The Museum of Modern Art and
Chairman of its International Council. In addition, Ms. Gund is
Chairman of the Mayor’s Cultural Affairs Advisory Commission for
New York City and is a vocal advocate for arts education, who in the
mid-1970s, founded Studio in a School in order to place professional
artists in public schools. As a philanthropist, Ms. Gund has supported
visual and performing arts organizations and arts education initiatives
throughout New York City and the country. Through her avid art collecting and
commissions, she is a key patron of living artists. She is actively involved with a myriad
of women’s issues, and is a generous and longtime supporter of AIDS research,
education, and treatment. She lives in New York City with her husband, Daniel Shapiro,
a lawyer who specializes in cultural properties and art law. She has four children and
eight grandchildren.
Sheila C. Johnson, CEO, Salamander Middleburg
Sheila C. Johnson, lifestyle entrepreneur and venture capitalist, has
held several successful careers. She was a co-founder of Black
Entertainment Television and, as an accomplished violinist, she was a
music teacher. Today, she is CEO of Salamander Middleburg, a
lifestyle company. To date, the company has launched Market
Salamander in Middleburg, Virginia, a working chefs market which is
a Virginia adaptation of a European country market; and a line of luxurious linens and
home accessories. She has also purchased a portion of the bath and body company,
Mistral. Future additions include affordable luxury home furnishings, additional
accessories, a market in Palm Beach, Florida and an exquisite inn & spa just outside
of Middleburg—the Salamander Inn & Spa.
Sheila is a firm believer in giving back and her philanthropy is substantial, particularly
in the area of the arts and education.
Owner of Salamander Farms in The Plains, Virginia and Wellington, Florida, Johnson
serves on the board of the International Centre for Missing & Exploited Children and
she is the international spokesperson for the organization. She is also on the board of
the Christopher Reeve Foundation, and the Jamestown-Yorktown Foundation.
Johnson is currently president of the Washington International Horse Show.
Roselyn Chroman Swig, Community Consultant, ComCon International
Roselyne Chroman Swig is founder and president of ComCon
International, a community consulting company that helps to create
roadmaps responsive to clients’ objectives and goals. In 1978, Mrs.
Swig founded Roselyne C. Swig Artsource, a fine art consulting firm
in San Francisco, and she served as its president until 1994.
Mrs. Swig serves on the board of directors of The Swig Company.
Mrs. Swig served, by appointment of President Bill Clinton, as Director of the Art in
Embassies Program of the United States Department of State from 1994 to 1997.
Mrs. Swig is the founder of Partners Ending Domestic Abuse, an advocacy group
raising awareness and funds for 17 agencies dealing with domestic violence. Mrs.
Swig serves as a board member for the San Francisco Museum of Modern Art; San
Francisco Art Institute (past chair); University of California Berkeley Art Museum
(founding board president); Contemporary Jewish Museum (present chair of Board);
Board of Governors of the Federal Reserve System Fine Arts Panel (past chair);
National Vice President of American Israel Public Affairs Committee; Jewish
Community Federation of San Francisco, Marin, Sonoma and the Peninsula (past
president); Women’s Forum West; Vital Voices Global Partnership; The HadassahBrandeis Institute at Brandeis University (advisory board member); National Gallery of
Art Trustees’ Council, Collector’s Committee; American Jewish Joint Distribution
Committee; the Grabhorn Institute. Mrs. Swig is a trustee of Mills College, National
Public Radio Foundation and KQED, San Francisco public broadcasting station and is
a member of ArtTable.
Mrs. Swig attended the University of California at Berkeley as an undergraduate and
has been awarded honorary Masters and Doctorate of Fine Arts degrees from the San
Francisco Art Institute. Mrs. Swig is the widow of the late Richard Lewis Swig and has
four children (Rick Swig, Susan Watkins, Marjorie Swig and Carol Swig) and twelve
grandchildren.
Research assistant: Leslie Ballard Hull, MA candidate, Visual Arts Administration,
New York University
Johnson is the recent recipient of a lifetime achievement award from the T. Howard
Foundation.
Of all of her many accomplishments, she is most proud to be the mother of her
two children
58
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W H I T E PA P E R S
Women as Patrons
By Leslie Ballard Hull, MA candidate,
Visual Arts Administration, New York University
Today, women are at the forefront of philanthropy, leading a charge
that is remarkable and carrying the torch of their predecessors. They
are recognized as a force and legitimate source of funding by nonprofit
institutions. “Women have always been involved in philanthropy, but
only since the early nineties has much attention been paid to women’s
preferences for giving and being asked (to give).” Women make up 41%
of the 3.3 million top wealth holders (over $500,000) in the United
States with a combined net worth of $1.8 trillion, women over 70 years
in age control most of the wealth in the United States, and because they
live longer than men, they will end up in charge of the $41 trillion
expected to pass to the next generation over the next 50 years.
Furthermore, research has shown that women appear to be more
charitable than their male counterparts, 61% of donors are women and
55.8% of all volunteers are women. Lilya Wagner, Director of the
Women’s Philanthropy Institute at the Center on Philanthropy at
Indiana University has been quoted as saying, “Women are NOT small
men! Women want involvement in causes to which they give. They ask
more questions and demand more outcomes than do men. They don’t
seek as much recognition, they value connections, they like new
initiatives, and they are more likely to volunteer.”
Throughout history, women have been known for their patronage.
Beginning with the Renaissance, the women who asserted themselves in
the realms of collecting were typically royalty. They would often collect
what were considered “lesser arts” such as porcelain, pottery,
embroidery, clothes or fans. Some of the most famous Royal women
patrons have been The Duchess of Portland, known for her Rembrandts,
Holbeins, and miniatures; Queen Charlotte, known for her books and
Faberge collection; Catherine the Great, and Madame de Pompadour.
Catherine the Great (1729-1796) was known to have collecting habits as
aggressive as men and “elevated her passion for patronage and
collecting into a single-handed bid to establish one of the leading
centers of world culture”, rivaling Paris and London. Madame de
Pompadour was one of the most powerful and influential people in
France during her reign as Louis XV’s mistress. She was known for her
interest in the arts and her patronage.
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W H I T E PA P E R S
Whereas in previous centuries women’s motivations to support the
arts might have had been to demonstrate the strength of their position
or, in the case of Madame de Pompadour, to distract the king; with the
20th century came the dawn of a new era for women in which they
began to collect and use their own wealth to give to the arts. Over the
past century women have collected and pursued their passions,
independent of men, such as in the case of the Cone Sisters from
Baltimore who never married but traveled Europe together amassing
one of the most significant collections of Matisse in the world and
leaving a legacy of over 3,000 items, “which for quality and perhaps
even breadth has hardly been surpassed in the history of the twentieth
century collecting by women in America.” Collecting and patronage
have also historically been tied together and used interchangeably, as
one traditionally led to the other. Such is not the case in today’s culture,
where women often come to patronage out of their own impetus to
give. Today’s women patrons are generous beyond necessity and are
seemingly motivated by purely philanthropic reasons. In contrast to
Europe, where men have long controlled the arts through their
financial, educational, and religious organizations, women in the
United States have been regarded as “Keepers of Culture.” They have
played integral roles in collecting and conserving art, promoting artists
and movements, founding some of the country’s most important art
museums-or compiling collections which form the core of a museum,
and seeing to it that these museums achieved world class status. Sondra
C. Shaw and Martha A. Taylor, co-founders of the Women’s
Philanthropy Institute describe women’s’ motivations for giving as the
“Six C’s of Philanthropy”: Create, Change, Connect, Collaborate,
Commit, and Celebrate.
Women often play a role in giving decidedly different from men
which has been evident throughout history. Even as early as the
Renaissance, women’s giving patterns and motivations were different
from men’s. Charlotte Gere and Marina Vaizey, co-authors of Great
Women Collectors point out that, “Women are different from their
male counterparts in that the purposes of their collection may often be
to attempt to convert the audience to the significance of the art that is
being collected.” Further research has shown that women take longer
to decide to give a gift than men, want to research the organization
before making a gift, are more committed to the organizations they
support, and often support causes that help others or improve
communities. They are also are less motivated by tax implications in
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W H I T E PA P E R S
their giving, give because they can identify with or are passionate about
a cause, and give because they feel the need to repay. A continuum in
women’s patronage throughout history, which is widely recognized
today, is the passion with which women give their time and money to
institutions. In contrast, male patrons are, “Often a philanthropist
seeking the public betterment, making a gesture towards his own
immortality, or paying the tribute to himself.” Men tend to focus on
larger, more established organizations, while women are more apt to
support smaller and newer charities. Another distinct characteristic of,
but not limited to, women’s philanthropic patterns is the giving of their
entire collection to the public either intact or as a gift to start an
institution. Some notable women who have helped to establish some of
our most important institutions in the country have been: Amelia and
Eleanor Hewitt (The Cooper Hewitt Museum, New York, 1897) Isabella
Stewart Gardner (Isabella Stewart Gardner Museum, Boston, 1903),
Gertrude Vanderbilt Whitney (The Whitney Museum of American Art,
New York, 1931), Dominique de Menil (The Menil Collection, Houston),
Peggy Guggenheim (The Peggy Guggenheim Collection, Venice), The
Cone Sisters (The Baltimore Museum of Art), Louise Havemeyer (The
Metropolitan Museum of Art, 1929), and Abby Aldrich Rockefeller, Lillie
Bliss, and Mary Quinn Sullivan (The Museum of Modern Art, 1929).
Most recently, Caroline Weiss Law bequeathed 55 artworks and in excess
of $400 million in cash to the Museum of Fine Arts Houston, one of
the biggest cash gift to an art museum. Mrs. Law, like the many women
who cam before her felt complete commitment to an institution and
embraced and nurtured it as if one would their own children.
Over the past 15 years, arts institutions have begun to court younger
patrons in highly sophisticated ways such as creating Young Collectors
Groups or designing galas and charity benefits specifically targeted at
a younger demographic. Today’s mature patrons and philanthropists,
women and men alike, didn’t experience the intense courting that
nonprofit organizations are engaging in to entice younger audiences
and donors. There are fundamentally four main reasons for this
change. The first is the huge impending intergenerational transfer of
wealth previously mentioned which will leave people in their twenties
and thirties as the stewards of this money, in addition to the wealth they
are creating in their own lifetimes. Organizations feel the need to get
people interested now so that when they are ready to give large sums of
money they will already be affiliated with an institution. Secondly,
according to a recent article in the Wall Street Journal, “it takes creative
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W H I T E PA P E R S
marketing to stand out in an ever more crowded field.” Overall the
number of U.S. charitable organizations has risen 9% from 2000 to
2003 at the same time, giving has remained relatively flat at about $240
billion a year since 2000. In this increased competitive environment,
nonprofits are being challenged to communicate with donors more
effectively, market creatively, and abandon traditional development
models as they go after a new generation of givers, “Generation X,”
offering them perks which may often exceed their level of giving. Susan
Raymond a scholar on philanthropic issues noted that, “Constant
forward-thinking is necessary if philanthropy and the nonprofit players
are to stay relevant in a changing world.” Thirdly younger donors are
becoming ever more sophisticated, and expect more for their money.
Finally, as arts and cultural organization see their audiences aging, they
have recognized the need to start cultivating younger donors, “Younger
arts supporters are coming up just at institutions need them the most.
The majority of cultural groups are experiencing a substantial graying
of their audiences, and even if their finances are healthy now, they’re
concerned about their futures.” Young Patrons “programs are an
intelligent and imaginative response to a ‘problem’ that may be
nothing more mysterious than the inevitable shift in interests and
leisure-time patterns of a generation that grew up with the TV, rock
concerts and pastimes other that what are generally known as the fine
arts. The age and profile of today’s major private supporters of the arts
is about what it has always been—people in their middle years. But the
patterns of attendance and connoisseurship those people followed are
not being duplicated by their children…these shifts challenge
established institutions to prove that what they have to offer is of wide
and enduring appeal, to the lay enthusiasts as much as to the
professional artists or the wealthy individual.”
Both women and the next generation are growing groups in terms
of their successes and philanthropic power, and arts organizations are
beginning to recognize both as essential audiences and donors. While
younger donors have been being actively targeted for the last 10 to 15
years, charities have still been slow to cultivate women donors. February
17th’s Chronicle of Philanthropy pointed out that, “Few charities are
doing all they can to cultivate (women) donors….but as more women
are earning big sums and reaching the stage in their careers, when they
have achieved significant success, they have the potential to make a
far-reaching impact on philanthropy.” “The demographics are
changing in the United States, and to survive, fund raisers must reach
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W H I T E PA P E R S
out to successful women, “today nearly half of the students in law and
medical schools are female…and the number of privately held U.S.
businesses owned by women has grown by 17% since 1997.” Women
have played a pivotal role in philanthropy throughout the history of the
United States, long before they had the right to vote, had control of
their own finances. “Women as philanthropists are here to stay!”
Footnotes:
1
Lilya Wagner, “Women and Philanthropy: The Power of One,”
OnPhilanthropy.com, 2004, 13 Sept. 2004. www.onphilanthropy.com/articles
2
“Gender Matters: Women as Philanthropists: a major audience for fundraising,”
Rhode Island Foundation.org. The Women’s Fund of Rhode Island. 10
November 2004. www.rifoundation.org/wfri/html/resources_ex_phil.htm.
3
“Women are More Philanthropic Than Men,” About Women and Marketing,
March 1996, 11.
4
Wagner.
5
Charlotte Gere and Marina Vaizey, Great Women Collectors (New York: Harry
N. Abrams, 1999), 33.
6
Gere and Vaizey, 150.
7
Sondra C. Shaw and Martha A. Taylor, Reinventing Fundraising: Realizing the
Potential of Women’s Philanthropy (San Francisco: Jossey-Bass Publishers, 1995) 29.
8
Ibid.
9
Ibid, 88.
10
Gere and Vaizey, 14.
11
Shaw and Taylor, 98.
12
Wagner.
13
Gere and Vaizey, 15.
41
Shannon Buggs, “Oil Heiress’s gift ultimately may be up to $450 million,”
Houston Chronicle 15 Feb. 2005. (online)
15
“New Landscape on Philanthropic Giving,” Givingforum.org, 2004,
Forum of Regional Associations of Grantmakers
16
Katherine Rosman, “Have Donation, Will Travel,” Wall Street Journal
1 Oct. 2004: W1.
17
Generation X’ers are people born between 1965 and 1981 or people
aged 23 to 39.
18
Susan Raymond, “Navigating the Future: Philanthropy and a Changing
World,” OnPhilanthropy.com, 17 Sept. 2004
<www.onphilanthropy.com/tren_comm/tc2004-09-17.html> Para. 1.
19
Emily Dentitto, “Reaching the Young at Art,” Crain’s New York Business
23 Nov. 1998, 41.
20
“Who’ll go to the Symphony,” The Washington Post, 10 Sept. 1996, A14.
21
Holly Hall, “Power of the Purse: Self-made women are making their mark
on philanthropy,” The Chronicle of Philanthropy, 17 Feb. 2005, 7+.
22
Wagner.
FRIDAY SESSIONS
69
4:30~5:30pm
Wrap up and Call to Action
Alberta Arthurs
Alberta Arthurs is an independent contractor in the arts and
humanities and a frequent commentator and writer on cultural issues.
Operating as Arthurs.US, she provides programming, planning and
research services to foundations and non-profit cultural organizations
in both the United States and abroad. Recent and current clients
include the James Irvine and Henry Luce Foundations, the Pew
Charitable Trusts, J.P.Morgan Chase, the American Symphony Orchestra League, the
National Performing Arts Convention. She has directed a series of convenings on the
arts in American life for the American Assembly at Columbia University, the most
recent on the Arts and Higher Education. Arthurs was the Director for Arts and
Humanities at the Rockefeller Foundation from 1982 to 1996. She was affiliated with
MEM Associates in New York City from 1998 to 2002, and for a year – 1996 to
1997 – she directed a program on culture and development at the Council on Foreign
Relations. She sits on the boards of the Salzburg Seminar, Yaddo, Exit Art, the Center
for Arts and Culture and National Video Resources (chair), and – until recently – she
served on the boards of the PEN American Center and Aid to Artisans, and as chair
of the advisory board to Radcliffe’s Bunting Institute. She is past chairman of the
Kenan Institute for the Arts. She is on advisory boards for the Graduate School of New
York University, UNESCO, and for StreamingCulture, a program at the Graduate
Center of the City University of New York. She has taught and held administrative
posts at Tufts, Rutgers and Harvard Universities, and was the President of Chatham
College from 1977 to 1982. She holds the doctorate in English literature from Bryn
Mawr College.
Kinshasha Holman Conwill, Conference co-chair
Kinshasha Holman Conwill is an arts, museum, and management
consultant. She is a consultant to LINC (Leveraging Investments in
Creativity), a national initiative to develop support systems for
individual artists. She is former director of The Studio Museum in
Harlem, where she conceptualized, organized, or co-organized more
than 40 major exhibitions.
She is a member of the Board of Overseers of CalArts, and a member of the boards
of the Municipal Art Society of New York, New Visions for Public Schools, and the
Urban Assembly, and the Advisory Council of the Center for Architecture.
She was managing editor for Culture Counts: Strategies for a More Vibrant Cultural
Life for New York City, the report of A Cultural Blueprint for New York City, a project
she directed for the New York Foundation for the Arts, and for Creative Downtown:
The Role of Culture in Rebuilding Lower Manhattan, a project she managed for the
New York City Arts Coalition. She began her career as a visual and performance artist
FRIDAY SESSIONS
71
and was Assistant Exhibit Coordinator for the Museum of the American Indian,
Coordinator of Activities for the Frank Lloyd Wright Hollyhock House, and taught art
in the Los Angeles Unified School District.
She writes and speaks on contemporary art and cultural policy nationally and
internationally and has served as a juror for public art projects and exhibitions. She is
a former president of ArtTable, a former board member of the Andy Warhol Foundation
for the Visual Arts and has served on advisory and grant panels for a number of
organizations, including the American Academy in Rome (Prix de Rome), the Ford
Foundation, the Pew Charitable Trusts, the Rockefeller Foundation, the Wallace
Foundation, the Maryland State Arts Council, the National Endowment for the Arts, the
National Endowment for the Humanities, the New York Foundation for the Arts, the
New York State Council on the Arts, and the California Arts Council.
She holds a B.F.A from Howard University and an M.B.A. from UCLA.
72
TAB FRONT
Wednesday, April 6
DINNERS AT COLLECTORS’ HOMES
TAB BACK
Following our opening-night reception and talk at the Solomon R. Guggenheim
Museum, the evening continued with intimate dinners at the homes of notable
New York collectors. We would like to acknowledge and extend a special thanks
to our generous hosts:
DINNER HOSTS:
Jan and Stefan Abrams live in a landmarked maisonette designed in 1928
by architect Rosario Candella. For the interior they have created a setting
to enhance their extensive collection of Austrian turn-of-the-century applied
arts, including works by Wagner, Hoffman, Moser, Prutscher, and many more.
Cristina Enriquez-Bocobo, a furniture designer and sculptor, has amassed
an impressive collection of Modern and Contemporary art with her
husband, Cody Smith. Highlights include a Picasso drawing, a beautiful
Metzinger oil painting, and a Leger oil painting.
Judi Caron’s collection of paintings ranges from the 1960’s to the 1990’s
and includes American artists such as Alex Katz, Tom Wesselman, Elizabeth
Murray, Jennifer Bartlett, and Richard Prince.
Visitors to Eileen and Richard Ekstract’s apartment, which overlooks
the East River, will see art that ranges from sensual to intellectual to
architectural. Most of the works on display consist of paintings, but there
are also sculptures, primitive art, drawings, and photography. Artists range
from well known (Warhol) to the virtually unknown. Approximately thirty
pieces are on display.
Glenn Fuhrman’s collection is focused on the work of living artists and
tries to collect each in as much depth as possible. The collection includes
works by both younger and more mature artists. Some of the artists
currently on view include Gerhard Richter, Chuck Close, Richard Long,
Ed Ruscha, Thomas Struth, Robert Gober, Elizabeth Peyton, Cindy Sherman,
Amy Adler, Delia Brown, and Damien Hirst.
Carol and Arthur Goldberg began collecting in 1962. Their painting,
sculpture, photography, and video collections include works by over
1,000 artists.
James and Katherine Goodman have a collection of Modern European
and Contemporary American Masters, including: Picasso, Balthus, Matisse,
Miró, Dégas, Mondrian, Lichtenstein, Hockney, Calder, de Kooning, as
well as Shaker furniture.
Jane Holzer has a breathtaking collection of POP Art centered on
Andy Warhol and artists he influenced such as Keith Haring and
Jean-Michel Basquiat.
EVENING EVENTS
75
Janet Kardon has a collection of Fine Art and Craft assembled over
many years.
Ellen Kern’s collection includes painting, photography, works on paper,
and sculpture from 1979 to the present. Artists included are Agnes Martin,
Louise Bourgeois, Lucien Freud, Ellsworth Kelly, and Brice Marden, along
with young emerging artists such as Anri Sala, Ernesto Caivano, and
Keegan McHargue.
Thursday, April 7
GALA AWARD DINNER
CIPRIANI (110 EAST 42ND STREET)
In celebration of ArtTable’s 25th Anniversary we are pleased to recognize
our past twelve Distinguished Service to the Visual Arts award recipients,
and the twelve future women leaders they have selected.
Nanette Laitman, President of the Museum of Art & Design, has a
collection that is primarily ceramic and handmade artist furniture.
7:00pm
8:00pm
Mark and Elizabeth Levine’s collection consists of photography, prints,
contemporary studio furniture, and ceramics. Artists included are Henri
Cartier-Bresson, William Eggleston, Barbara Ess, Eugene Atget, and
Ansel Adams.
~ Reception
~ Gala Award Dinner
EMCEE
Roz Abrams, Co-anchor CBS News
Cipriani, New York
Barbara Linhart began collecting in 1965, and was greatly influenced
by her close friend, Harry Abrams. Her Modern and Contemporary
collection includes works by Pablo Picasso, Cindy Sherman, James
Rosenquist, Vik Muniz, and Red Grooms.
Douglas Maxwell’s Contemporary collection is housed in his loft, which
was built primarily with the placement of his collection in mind. Artists
included are Robert Gober, Juan Munoz, Alexis Rockman, Annee Olofsson,
and Doug & Mike Starn.
Kathleen O’Grady is a collector of drawings and works on paper,
concentrating primarily on the works of 20th Century and Contemporary
American artists. Her collection includes Stuart Davis, Edwin Dickinson,
Edward Hopper, Jacob Lawrence, Robert Longo, Georgia O’Keeffe, and
Shahzia Sikander.
Mimi and Joseph Poser’s collection includes 18th Century English
furniture, silver, and decorative arts, Japanese and Chinese Antiquities and
Decorative Arts, as well as contemporary art. Artists include Dorothea
Rockburne, Paul Manes, Jean Dubuffet, Jiri Kolar, William Pope. L, Yoon
Young Park, Carlos Estevez, Esterio Segura, and Tanya Bruguera.
Jeanne Greenberg Rohatyn’s collection is focused on several specific
areas of Contemporary art, including works by African American artists,
conceptual photography and emerging painters.
Frederieke Taylor has a collection that ranges from vintage furniture by
Rietveld to minimalist works by Sol Lewitt, along with young, contemporary
artists, including Jean Shin.
Barbara Tober is Chairman of the Museum of Arts & Design. Her collection
ranges from figurative to textural works, and includes paintings, sculpture and
decorative arts, each with a story and distinctive personality. Artists include
Dale Chihuly, William Morris, Edward Eberly, Olga de Amaral, Cindy Sherman,
Michelle Holzapfel and Lino Tagliapietra.
76
EVENING EVENTS
LOOKING BACK
Elizabeth C. Baker, Editor, Art in America, New York, NY~2004
Linda Nochlin, Lila Acheson Wallace Professor of Modern Art,
New York University, Institute of Fine Arts, New York, NY~2003
Iris Cantor, Chairman and President, Iris and B. Gerald Cantor Foundation,
Los Angeles, CA~2002
Paula Cooper, Director, Paula Cooper Gallery, New York, NY~2001
Marcia Tucker, Founding Director, The New Museum of Contemporary Art,
New York, NY~2000
Lucy R. Lippard, Activist, Author, Curator, Galisteo, NM~1999
Stephanie French, Former Vice President, Corporate Contributions,
Philip Morris Companies, Inc., New York, NY~1998
Joan Mondale, Arts Advocate, Minneapolis, MN~1997
Dianne H. Pilgrim, Former Director, Cooper-Hewitt National Design Museum,
New York, NY~1996
Emily Rauh Pulitzer, President, The Pulitzer Foundation for the Arts,
St. Louis, MO~1995
Agnes Gund, President Emerita, Museum of Modern Art,
New York, NY~1994
Gala
Kitty Carlisle Hart, Actress and Arts Advocate,
New York, NY~1993
EVENING EVENTS
77
MOVING FORWARD
Andrea Barnwell,
Director, Spelman College Museum of Fine Art, Atlanta, GA
Melissa Chiu,
Director, The Asia Society, New York, NY
Fairfax Dorn,
Executive Director, The Ballroom and Virginia Lebermann, President,
The Ballroom, Marfa, TX
Jeanne Greenberg Rohatyn,
Director, Salon 94, New York, NY
Ellen Haddigan,
Executive Director, Rush Philanthropic Arts Foundation, New York, NY
Laura Hoptman,
Curator, Carnegie Museum of Art, Pittsburg, PA
Bronwyn Keenan,
Founding Member, Downtown for Democracy, and Founder,
Bronwyn Keenan Gallery, New York, NY
Marysol Nieves,
Curator of Contemporary Art, Museo de Arte de Puerto Rico, San Juan, PR
Sheri L. Pasquarella,
Principal, Sheri L. Pasquarella, Inc. and Co-Founder/President, New Art
Dealers Alliance (NADA) Inc., New York, NY
Maura Reilly,
Curator, The Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum,
Brooklyn, NY
Natasha Schlesinger,
Founder, ARTMUSE, New York, NY
Olga Viso,
Deputy Director, The Hirshhorn Museum and Sculpture Garden, Washington, DC
MOTHER-DAUGHTER GALA CO-CHAIRS
Friday, April 8
DUTCH-TREAT TOPIC DINNERS
ArtTable members will lead timely discussions on art and the art world at
their favorite restaurants. With special thanks to our hosts.
HOST:
TOPIC:
RESTAURANT:
HOST:
TOPIC:
RESTAURANT:
HOST:
TOPIC:
EVENING EVENTS
Catherine Behrend, Deputy Director, Percent for Art
Is the Big Apple keeping its edge? Tell us what’s
great about culture in your city.
Parma 1404 Third Avenue, Upper East Side
Northern Italian • $50-$60
HOST:
Tsipi Ben-Haim, Executive Director, CityArts, Inc.
The Art of Self-Promotion
Home of Tsipi Ben-Haim*
SoHo • $25-$35
TOPIC:
RESTAURANT:
HOST:
TOPIC:
Holly Block, Executive Director, Art in General
Commissioning New Work and Running Artist
Residency Programs
RESTAURANT:
Art in General 79 Walker Street, TriBeCa
French Vietnamese • $15-$20
HOST:
Riva Blumenfeld, Blumenfeld Fine Art
Wendy Feuer, Public Art & Urban Design
Flexibility in the Field
Convivium Osteria 68 Fifth Avenue, Park Slope, Brooklyn
(between Bergen Street & St. Marks Place)
Mediterranean • $20-$30
TOPIC:
78
Alyson Baker, Executive Director, Socrates Sculpture Park
The Artist Work Space: Supporting Contemporary Artists
Annisa 13 Barrow Street, Greenwich Village
American • $35-$45
RESTAURANT:
Ellyn Dennison / Lisa Dennison
Carol Goldberg / Beth Goldberg Nash
Danielle Amato-Milligan, Principal, Amato-Milligan
& Stanislaus Consultants
Doing Business on Your Own
Saul 140 Smith Street, Cobble Hill, Brooklyn
American • $30-$40
RESTAURANT:
EVENING EVENTS
79
HOST:
TOPIC:
RESTAURANT:
HOST:
GUEST:
TOPIC:
RESTAURANT:
HOST:
TOPIC:
RESTAURANT:
HOST:
TOPIC:
RESTAURANT:
HOST:
GUEST:
TOPIC:
RESTAURANT:
Patty Brundage, Art Advisor, Brundage Art Advisory
Gracie Mansion, Art Advisor, Gracie Mansion Fine Art
Reinventing Yourself
Village Restaurant 62 West 9th Street, Greenwich Village
French/American • $30-$40
Ada Ciniglio, Executive Director, High 5 Tickets to the Arts
Joyce Kozloff, Artist
What’s Next? Art and Politics in the Next Four Years
Otto Enoteca and Pizzeria 1 Fifth Avenue, Greenwich Village
Italian • $20-$30
Kathleen Cullen, Artek Contemporaries
Deborah Harris, Advertising Director, Art in America
Spankin’ New
Chelsea Bistro 358 West 23rd Street, Chelsea
French • $20-$30
Penny Dannenberg, Director of Programs, New York
Foundation for the Arts
Carolyn Somers, Director, Joan Mitchell Foundation
Supporting Creativity
Aquagrill 210 Spring Street, SoHo
Seafood • $30-$40
Jenny Dixon, Director, Noguchi Museum
Diane Villani, Owner, Diane Villani Editions
Nina Ozlu, VP Government and Public Affairs,
Americans for the Arts
Where’s the Voice for the Arts in Washington?
We have the Numbers, how do we get the Results?
Home of Diane Villani*
SoHo • $25-$35
HOST:
TOPIC:
RESTAURANT:
Home of Lynn Gumpert*
Lower Manhattan• $25-$35
HOST:
Donna Harkavy, Independent Curator
Margaret Mathews-Berenson, Independent Curator
Independent Curating: Sharing Experiences
Isola 485 Columbus Avenue, Upper West Side
Italian • $25-$35
TOPIC:
RESTAURANT:
HOST:
GUEST:
TOPIC:
RESTAURANT:
HOST:
TOPIC:
TOPIC:
RESTAURANT:
Stacey Gershon, Curator, JPMorgan Chase
Margize Howell, Curator, Preservation Trust
In-House or Out-House: What’s Next?
Beyoglu 1431 3rd Avenue, Upper East Side
Turkish • $20-$30
EVENING EVENTS
Laura Kruger, Curator, The Museum at Hebrew Union College
Alien, Exotic, Strange: Reshaping Ethnic Museums in the
Contemporary Art World
Zeytin 519 Columbus Avenue, Upper West Side
Turkish • $30-$40
HOST:
Penny Pilkington, Owner/Director, P.P.O.W. Gallery
Susan Reynolds, Director, Feigen Contemporary
Location, Location, Location
Zerza 304 East 6th Street, East Village
Moroccan • $15-$25
TOPIC:
RESTAURANT:
HOST:
TOPIC:
HOST:
TOPIC:
RESTAURANT:
80
Dusica Kirjakovic, Executive Director, Lower East Side Print Shop
James Miller
People’s Prints: Accessibility of Prints to Artists & Collectors
HK 523 9th Ave, Garment District
American • $10-$20
RESTAURANT:
RESTAURANT:
HOST:
Lynn Gumpert, Director, Grey Art Gallery, NYU
Randy Rosen, President, Randy Rosen Arts Associates
From Warhol to Wal-Mart: Are museums participating in the
dumbing down of art in a pluralist, market-driven art world?
Ellen Salpeter, Director, Heart of Brooklyn
Living Your Politics
Home of Ellen Salpeter*
Prospect Heights, Brooklyn • $25-$35
Julie Saul, Director/President, Julie Saul Gallery
Leslie Tonkonow, President, Leslie Tonkonow Artworks + Projects
Comparing Notes: Let’s Talk About the Art Business
Bivio 637 Hudson Street, West Village
Italian • $30-$40
EVENING EVENTS
81
HOST:
TOPIC:
RESTAURANT:
HOST:
TOPIC:
RESTAURANT:
HOST:
TOPIC:
RESTAURANT:
HOST:
TOPIC:
Joyce Pomeroy Schwartz, President, Works of Art for
Public Spaces, Ltd
Martina Yamin, Conservator of Works on Paper
In the News
Home of Joyce Pomeroy Schwartz*
Midtown Manhattan • $25-$35
Ruth Ann Stewart, Clinical Professor of Public Policy,
NYU Wagner School of Public Service
The Arts and Artists in Urban Revitalization
North Square 103 Waverly Place, Washington Square Park
American/French • $30-$40
Maureen Sullivan, Director of External Affairs, Creative Time
Not Your Mother’s Public Art
The Odeon 145 West Broadway, TriBeCa
American/French • $30-$40
Linda Sweet, Partner, Management Consultants for the Arts
Private Museums, Artist Foundations, and the
Impact on Art Museums
RESTAURANT:
Inside 9 Jones Street, Greenwich Village
American • $20-$30
HOST:
Barbara Toll, President, Barbara Toll Fine Arts
How did you enter the art world, and knowing what
you know now, would you do it again?
TOPIC:
RESTAURANT:
Savoy 70 Prince Street, SoHo
New American • $25-$35
HOST:
Shannon Wilkinson, President, Cultural Communications
Money, Honey: Women, Mastery, and Money
(recommended reading: Necessary Dreams by Anna Fels)
Kelly & Ping 172 Greene Street, SoHo
Exotic Thai in a “Bangkok general store” • $10-$15
TOPIC:
RESTAURANT:
82
EVENING EVENTS
TAB FRONT
Board of Directors
TAB BACK
Diane B. Frankel, President
Carol Cole Levin, Vice President
John Koegel, Counsel
K.C. Maurer, Treasurer
Aletta Schaap, Secretary
Linda Sweet, Vice President
Danielle Amato-Milligan
Karin Breuer
Marilynn Donini
Angela Heizmann Gilchrist
Nancy Macko
Barbara Shapiro
Rosa Tejada
Sharon Vatsky
Riva Blumenfeld, New York
Chapter Chair
Patricia Hamilton, Southern
California Chapter Chair
Marjorie Levy, Regional Alliance
Representative, Chair
Mary Kay Lyon, Northern California
Chapter Chair
Robin Bonner Ward, Washington,
DC Chapter Chair
Katie Hollander, Executive Director
Conference Co-chairs
Alberta Arthurs
Kinshasha Holman Conwill
Collector Dinner
Committee
Louise Eliasof, Co-chair
Patricia Tompkins, Co-chair
Karen Amiel
Riva Blumenfeld
Karen Bravin
Kathleen Cullen
Nina Del Rio
Sima Familant
Julie Lavin
Laura Kruger
Gracie Mansion
Eileen Rosenau
Julie Saul
Gala Committee
MOTHER-DAUGHTER GALA CO-CHAIRS
Carol Goldberg
Beth Goldberg Nash
Ellyn Dennison
Lisa Dennison
Danielle Amato-Milligan, Co-chair
Suzanne Gyorgy, Co-chair
Riva Blumenfeld
Karen Bravin
Judith K. Brodsky
Carol Cole Levin
Monika Dillon
Joan Diamond
Deborah Force
Patricia Kettenring
Laura Kruger
Francesca Lack
Susan Mason
Miranda McClintic
Murial Moss
Kathleen O’Grady
Ellen Salpeter
85
Notes:
Notes:
Notes:
With special thanks to:
ArtTable staff Ellen Staller, Allison Kaufman, and Heather M. Ruth, as well as
Mary Beth Bainbridge, Rebecca Bird, Alaine Azcon, Kelly Labozzetta, and our
designer Renée Skuba. ArtTable President Diane B. Frankel, Conference co-chairs
Alberta Arthurs and Kinshasha Holman Conwill, and the many ArtTable members
who have helped to celebrate and support ArtTable’s 25th anniversary.
CREDITS: PR: Think PR PRINTING: Paul J. Weinstein Quality Printing, Inc. DESIGN: Renée Skuba