Amelia Jones is the Robert A. Day Professor and Vice Dean of Research at the Roski School of Art and Design at University of Southern California. A feminist curator and a theorist and historian of art and performance, her recent publications include Seeing Differently: A History and Theory of Identification and the Visual Arts (2012), Perform Repeat Record: Live Art in History (2012), co-edited with Adrian Heathfield, the edited volume Sexuality (2014), and, co-edited with Erin Silver, Otherwise: Imagining Queer Feminist Art Histories (2016). Her exhibition Material Traces: Time and the Gesture in Contemporary Art took place in 2013 in Montreal and she programmed the events Trans-Montréal (2015) in that city, followed by a related publication “On Trans/Performance,” a special issue of Performance Research (2016). Her Live Artists Live performance and conference program took place at USC in 2016. Jones is currently working on a retrospective of the work of Ron Athey and a book tentatively entitled In Between Subjects: A Critical Genealogy of Queer Performance.
Michelle Kuo is Marlene Hess Curator of Painting and Sculpture at the Museum of Modern Art. She is the former editor-in-chief of Artforum. She has also curated several exhibits prior to arriving at MOMA, including “Le Corbusier and the Synthesis of the Arts” at Harvard University’s Carpenter Center for the Visual Arts in 2004, and as an adviser on “Experiments in Art and Technology” at the Salzburg Museum of Modern Art in Austria in 2016.
Visiting Roundtable Scholars
Jill Ahlberg Yohe is Associate Curator of Native American Art at the Minneapolis Institute of Art. She arrived at Mia in 2014, having previously served as assistant curator and Mellon Fellow of Native American Art at the St. Louis Art Museum. There, she installed the museum’s first three permanent galleries of Native American art and collaborated with Lakota artist Arthur Amiotte and Crow artist Wendy Red Star to bring Native understandings to works from their respective communities. She grew up in rural Pennsylvania, received her BA from the University of Maryland, and studied anthropology for her MA at the University of New Mexico. For her PhD (2008), also from the University of New Mexico, she focused on Navajo textiles, learning the Navajo language and living on the vast Navajo reservation for 4.5 years. Among her initiatives at Mia is showcasing native Minnesota artists, highlighting the art of native women, and bringing native perspectives to bear on the museum’s collection.
LaTanya S. Autry is Curator of Art and Civil Rights at the Mississippi Museum of Art, Tougaloo College. Her work centers on social justice and public memory. In addition to co-creating The Art of Black Dissent, an interactive program that promotes public dialogue about the African-American liberation struggle, she co-produced #MuseumsAreNotNeutral, an online campaign that exposes the fallacies of the neutrality claim and calls for an equity-based transformation of museums, and the Social Justice and Museums Resource List, a crowd-sourced bibliography. Autry has curated exhibitions and organized programs at Yale University Art Gallery, Artspace New Haven, Mississippi Museum of Art, Tougaloo College, and the Crane Art Center. Through her graduate studies at the University of Delaware, where she is completing her PhD in art history, she has developed expertise in art of the United States, photography, and museums.
Juliet Bellow is Associate Professor of Art History, American University. Her research centers on visual artists’ experimentations with intermediality in the late nineteenth and early twentieth centuries. Her book Modernism on Stage: The Ballets Russes and the Parisian Avant-Garde, published in 2013 by Ashgate Press, analyzes set and costume designs by Pablo Picasso, Henri Matisse, Sonia Delaunay and Giorgio de Chirico for Serge Diaghilev’s Ballets Russes troupe. She also served as Consulting Scholar for the 2013 exhibition “Diaghilev and the Golden Age of the Ballets Russes: When Art Danced With Music.” She has recent or forthcoming essays in several peer-reviewed journals, as well as exhibition catalogues on Auguste Rodin, Sonia Delaunay, Merce Cunningham, and Claude Debussy. She is currently serving a three-year term as Editor-in-Chief for caa.reviews, the College Art Association’s online reviews journal.
Dr. Bellow’s current book project, entitled Rodin’s Dancers: Moving Toward the Limits of Sculpture, is the first in-depth study of the artist’s engagement with dance, and the first to examine the intertwined histories of dance and sculpture at a pivotal moment in the development of both media. She is also working on an article about the display of dance in art museums.
Johanna Burton is Director of the Wexner Center for the Arts at The Ohio State University. Previously, she served as Keith Haring Director and Curator of Education and Public Engagement at the New Museum in New York. She is also series editor for the museum’s Critical Anthologies in Art and Culture. Burton is an active scholar, curator and educator—her previous posts include director of the graduate program at Bard College’s Center for Curatorial Studies and associate director and senior faculty member at the Whitney Museum’s Independent Study Program. Burton’s curatorial projects examine artists and movements that challenge conventions and shift the field. Her exhibition credits include Sherrie Levine: Mayhem at the Whitney Museum of American Art, New York (2011); Take It or Leave It: Institution, Image, Ideology at the Hammer Museum at UCLA, Los Angeles (2014); and Simone Leigh: The Waiting Room (2016) and Trigger: Gender as a Tool and a Weapon, both at the New Museum (2017). Recently Burton has served as co-editor of Public Servants: Art and the Crisis of the Common Good (New Museum/MIT, 2016) and co-editor of Trap Door: Trans Cultural Production and the Politics of Visibility (New Museum/MIT, 2018). She holds graduate degrees from Princeton University, New York University, and Stony Brook University.
Lane Czaplinski is Director of Performing Arts at the Wexner Center for the Arts at The Ohio State University. Prior to his move to Columbus, Ohio, he served as the artistic director of the contemporary performing arts center, On the Boards, in Seattle for fifteen years. Under his leadership, the organization commissioned and produced over 80 new multidisciplinary performance works and nurtured regional artists to make new works that garnered national funding and touring opportunities. One of Czaplinski’s signature initiatives, OntheBoards.tv, expanded the audience for On the Board’s programming through HD-quality performance films, attracting an international subscriber base of universities and arts enthusiasts. His efforts won Czaplinski several awards, including a Genius Award from Seattle’s The Stranger, and led the New York Times to declare On the Boards “one of America’s best theaters for contemporary performance.”
Anaïs Duplan is a trans* poet, curator, and artist. He is the author of a forthcoming book of essays on black art and creativity, Blackspace (Black Ocean, 2019), a full-length poetry collection, Take This Stallion (Brooklyn Arts Press, 2016), and a chapbook, Mount Carmel and the Blood of Parnassus (Monster House Press, 2017). His writing has been published by Hyperallergic, PBS News Hour, the Academy of American Poets, Poetry Society of America, and the Bettering American Poetry anthology. Duplan is the founding curator for the Center for Afrofuturist Studies, an artist residency program for artists of color, based in Iowa City. As an independent curator, he has facilitated artist projects in Chicago, Boston, Santa Fe, and Reykjavík. Duplan’s video and performance work has been shown at Flux Factory, Daata Editions, the 13th Baltic Triennial in Lithuania, Mathew Gallery, NeueHouse, the Paseo Project, and will be exhibited at the Institute of Contemporary Art in LA in 2020. He was a 2017–2019 joint Public Programs Fellow at the Museum of Modern Art and the Studio Museum in Harlem. He now works as Program Manger at Recess.
Lisa Yun Lee is Director of the National Public Housing Museum and Associate Professor of Art and Art History, Museum and Exhibition Studies, and Gender and Women’s Studies at the University of Illinois–Chicago. She is also the co-founder of The Public Square at the Illinois Humanities Council, an organization dedicated to creating spaces for dialogue and dissent and for reinvigorating civil society. She has published a book on Frankfurt School philosopher Theodor Adorno titled Dialectics of the Body: Corporeality in the Philosophy of Theodor Adorno (Routledge, 2004), and researches and writes about museums and diversity, cultural and environmental sustainability, and spaces for fostering radically democratic practices. Lee received her BA in religion from Bryn Mawr College and a PhD in German Studies from Duke University. She is Co-Chair of the Executive Committee of the Institute for Research on Race and Public Policy at UIC, and she serves on the national boards of the American Alliance of Museums, Imagining America: Artists & Scholars in Public Life, the Ms. Magazine Advisory Board, and the boards of Rebuild Foundation, the National Public Housing Museum, Young Chicago Authors, 3Arts, and the International Contemporary Ensemble.