Independent curator and critic. Formerly chief curator at The Jewish Museum, New York. The many exhibitions Kleeblatt has organized include the award winning Action/Abstraction: Pollock, De Kooning, and American Art, 1940-1976 (2008) and From the Margins: Lee Krasner and Norman Lewis, 1945 – 1952 (2014). He has contributed to ARTnews, Artforum, Art Journal, and Art in America, among other publications.
Author of Eye of the Sixties, Richard Bellamy and the Transformation of Modern Art (Farrar, Straus, and Giroux, 2016). A former arts reviewer for NPR's Fresh Air and Morning Edition, she has written for such publications as Art in America and The New York Times Book Review.
Independent critic and curator. She has been a contributing writer for ARTnews, Art in America and The Brooklyn Rail. Recent projects include catalogue text for Sylvia Plimack Mangold and Co-curator of Toxic Beauty: The Art of Frank Moore.
Co-executive editor of ARTnews, where she writes on a wide range of contemporary art topics. Previously she worked as executive editor of Art + Auction, and has been an editor at Review: Latin American Literature and Arts and New York Magazine.
Brooklyn-based art critic and writer. Editor at the Metropolitan Museum of Art and associate art editor at The Brooklyn Rail. His writing has been published by the Met, The Brooklyn Rail, the Paris Review Daily, Artspace, and more. William holds an MFA in art criticism and writing from the School of Visual Arts.
Past president of AICA-USA; art critic for The New York Times regional sections for several decades; former museum curator.
Artist, writer, independent curator and former curatorial advisor at MoMA PS1 (2007–2010). He is the Co-Founder, Publisher, and Artistic Director of the monthly journal The Brooklyn Rail, Rail Curatorial Projects, and the publishing press Rail Editions. He was a senior critic at Yale MFA, Columbia University MFA, and University of Pennsylvania MFA (2012–2015), and has taught graduate seminars in MFA Writing and Criticism and MFA Photography, Video, and Related Media at the School of Visual Arts (2012–2016).
New York based critic with a focus on Modern and Contemporary Art. Since 1997 Conner has contributed to publications such as Afterimage, Art in America, Art Papers, Interview Magazine, New Art Examiner, Performance Art Journal, Sculpture and Whitehot Magazine.
Museum Studies faculty, New York University; former Whitney Museum branch director.
Founding Director and Chief Curator of Performa. Art historian, critic, and curator whose book Performance Art: From Futurism to the Present, first published in 1979, pioneered the study of performance art. Her book Performance Now: Live Art in the Twenty-First Century, is a major survey that charts the development of live art around the globe. Goldberg’s many awards include Chevalier of the Order of Arts and Letters, Yoko Ono’s Courage Award for the Arts, and the Agnes Gund Curatorial Award from ICI. She has taught at NYU Steinhardt since 1987.
Executive Director and Chief Curator of Slought Foundation, as well as Senior Lecturer in the Departments of History of Art and English at the University of Pennsylvania. Curated exhibitions include: Into the Open: Positioning Practice, the US representation at the Venice Biennale for Architecture. He has edited over twenty books, films, and multimedia publications, including Cities Without Citizens (2002); Helene Cixous' Ex-cities (2007); John Cage's How to Get Started (2010); and Utterly Precarious: Carolee Schneemann (2013).
Contributor to BOMB, Guernica, Artcritical.com, Hyperallergic, the Chicago Reader, Newcity, and Studio: The Studio Museum of Harlem's magazine, among others. She has written about and interviewed national and international artists and creatives including Derrick Adams, Solange Farkas, Terisita Fernandez, Coco Fusco, Ralph Lemon, Jason Moran, Robin Rhode, and Mithu Sen. Norman earned an MFA in Art Criticism and Writing from the School of Visual Arts in New York City. She is currently based in Chicago.
Art critic and filmmaker; AICA-USA board president, 2000-2005. Wallach has written for Art in America, The New York Times, Smithsonian, and Vanity Fair, as well as numerous books and catalogs; formerly arts commentator for PBS Newshour, chief art critic for Newsday/New York Newsday. Organizes and moderates numerous US and international panels and symposia. Co-director, Louise Bourgeois: The Spider, The Mistress and The Tangerine (2008). Her film, Ilya and Emilia Kabakov: Enter Here, debuted at Film Forum in New York and is currently in international release. Founding Program Director, Art Writing Workshop, a partnership between AICA and the Creative Capital/Warhol Foundation.
Has written regularly for Art in America since 1982, is a contributing editor for ARTnews and Art Asia Pacific, and has contributed essays to numerous museum and gallery publications. Wei has organized numerous shows in the United States and abroad, most recently Mei Guo (The Beau Monde) for Contrasts Gallery in Shanghai and Beijing, and Into the Trees for The Fields Sculpture Park in Ghent, NY.
AICA supports art writers around the world through public programs and membership that includes free access to museums across the globe. Since its formation in 1950, AICA has been committed to elevating the values of art criticism as a discipline, and acting on behalf of the physical and moral defense of works of art.
AICA supports arts writers around the world through public programs and membership that offers free access to museums across the globe. AICA-USA represents the largest national section of AICA International with over 450 distinguished critics, curators, scholars, and art historians working throughout the United States. As part of the international organization, we benefit from a global reach in presence. AICA-USA is intent on international communication, elevating the values of art criticism as a discipline, and acting on behalf of the physical and moral defense of works of art.
AICA's membership card is recognized for entrance to museums around the world. Members are invited to attend the annual AICA International Congress, hosted each year by a different member nation, and the AICA-USA annual meeting, which is held every year in May.
Organized in collaboration with CUE Art Foundation, this program matches emerging critics with experienced AICA-USA members who guide them through the process of writing a catalogue essay.
A partnership between the Arts Writers Grant Program and AICA-USA that gives art writers the opportunity to strengthen their work through one-on-one consultations with leading art critics.
Every fall, in cooperation with the New School's Vera List Center for Art and Politics, AICA-USA presents a Distinguished Critic Lecture.