Rhea AnastasDirector, M.A. Art and Curatorial Practices in the Public Sphere, Assistant Professor of the Practice of Art Criticism
Rhea Anastas is an art historian. She earned her B.A. and M.A. from Columbia University and her Ph.D. from The Graduate Center, City University of New York. She was co-founder of the cooperatively organized Orchard on New York's Lower East Side (2005-2008), where she curated exhibitions and programs. Anastas's scholarship has appeared in books, catalogues and such journals as Grey Room and Texte zur Kunst, where the following piece, among others, appeared: "Material Holes, on Josephine Pryde at Richard Telles Fine Art, Los Angeles," Texte zur Kunst no. 77 (March 2010). Anastas has published three books: as co-editor (with Michael Brenson), Witness to Her Art: Art and Writings by Adrian Piper, Mona Hatoum, Cady Noland, Jenny Holzer, Kara Walker, Daniela Rossell and Eau de Cologne (2006) and Dan Graham Works 1965-2000 (2001); as editor, Allan McCollum, JRP Ringier (2012). Recent articles include, "Individual and Unreal: Agnes Martin's Writings in 1973," in Agnes Martin, eds. Lynne Cooke and Karen Kelly (Yale University Press and the Dia Art Foundation, 2011) and "A Nude Poses in the Whitney Museum Holding a Cigarette," Parkett (May 2012). In Fall 2011/12, Anastas was Otis Visiting Fine Arts Critic in Residence Fellowship, Fine Arts Department, Otis College of Art and Design, Los Angeles, CA.
Connie ButlerVisiting Professor
Since 2006 Connie Butler has been Chief Curator of Drawings at The Museum of Modern Art, New York where she has organized major exhibitions including, "On Line: Drawing Through the Twentieth Century" (2011); "Greater New York" (2010) at MOMA PS1; 'Paul Sietsema: Figure 3" (2008); and "Marlene Dumas: Measuring Your Own Grave" (2008). She is currently researching the first North American retrospective exhibition of Brazilian artist Lygia Clark which she will co-organize for MOMA in 2014. Prior to her work at MOMA, Butler was Curator at The Museum Contemporary Art, Los Angeles where she organized the critically acclaimed international exhibitions, "WACK! Art and the Feminist Revolution," (2006) and "Afterimage: Drawing Through Process," (1998) as well as numerous one person exhibitions with artists including Amy Adler, Jessica Bronson, Lewis Baltz, Rodney Graham, Kay Rosen, Robert Smithson (co-curator) and Eric Wesley. Butler has published widely on the subject of contemporary art including, most recently, "From Conceptualism to Feminism: Lucy Lippard's Numbers Shows 1969-1974," (Afterall, 2012) and "Defining Contemporary Art in 200 Pivotal Artworks," (Phaidon, 2012) and was the editor of "Modern Women: Women Artists and the Museum of Modern Art," (MOMA, 2010).
Bruce HainleyA contributing editor of Artforum and eastofborneo.org, Bruce Hainley is the author of Foul Mouth, No Biggie, and, with John Waters, Art--A Sex Book. The fifth issue of Pep Talk is dedicated to his writing. Semiotext(e) will publish his study of Sturtevant, Under the Sign of [sic], in late 2013.
Karen MossKaren Moss is an art historian, curator, and educator who has held museum and academic positions since 1980. Currently she is Adjunct Curator at Orange County Museum of Art and has organized “State of Mind: New California Art Circa 1970,” a major exhibition of conceptual art and other experimental practices, part of Pacific Standard Time, the Getty Foundation's wide initiative about the art history of Southern California from 1945 to 1985. In her previous capacity as OCMA's Deputy Director of Exhibitions and Programs and Curator of Collections, Moss organized “15 Minutes of Fame: Portraits from Ansel Adams to Andy Warhol” (2010); “Illumination: The Paintings of Georgia O'Keeffe, Agnes Pelton, Agnes Martin, and Florence Miller Pierce” (2009); “Chris Burden: A Tale of Two Cities” (2008); “Disorderly Conduct: Recent Art in Tumultuous Times” (2008); and “Art Since the 1960s: California Experiments” (2007–08). She was co-curator and catalogue essayist for the 2006 California Biennial and organized artists' residencies and performances for the 2006, 2008, and 2010 biennials with artists Scoli Acosta, Jedediah Caesar, Shana Lutker, Mary Kelly, Julio Cesar Morales, My Barbarian, Kara Tanaka, Mario Ybarra, Jr., and others. Prior to joining OCMA, Moss was Director of Exhibitions and Public Programs at the San Francisco Art Institute (1999–2004), where she organized exhibitions such as “Sharon Lockhart/Kelly Nipper,” “James Siena,” “Topographies,” and “The World on Its Head: Contemporary Belgian Art” and international residencies with artists including Ghada Amer, Tania Bruguera, Wim Delvoye, Pierre Huyghe/Philippe Parreno, Los Carpinteros and Rirkrit Tiravanija.
Carol A. StakenasCarol A. Stakenas is the Executive Director of LACE (Los Angeles Contemporary Exhibitions). Currently she is serving as the lead curator for “Los Angeles Goes Live: Performance Art in Southern California 1970-1983,” an exhibition and performance series as part of the Getty's Pacific Standard Time initiative. Since her arrival at LACE in 2005, Stakenas has worked with over 500 artists, more than 60 of which have developed unique and innovative projects that could only be realized through a residency at LACE. Previously, she was the Deputy Director/Curator of Creative Time, the leading public arts presenter based in New York City.
Stakenas has commissioned and produced multidisciplinary public art at remarkable sites such the Brooklyn Bridge Anchorage, Times Square and Hollywood Boulevard's Walk of Fame. She has worked with a broad range of artists including Asymptote, Haluk Akakçe, Natalie Bookchin, Chris Doyle, Fallen Fruit, Simone Forti, Cai Guo-Qiang, Granular Synthesis, Shu Lea Cheang, Suzanne Lacy, Takashi Murakami, Marjetica Potrç, Toshi Reagon, Erwin Redl, Steve Roden, and Lebbeus Woods.
A.L. SteinerVisiting core faculty member A.L. Steiner uses constructions of photography, video, installation, collage, collaboration, writing, performance, and curatorial work as seductive tropes channeled through the sensibility of an activated cynical queer eco-feminist androgyne. Steiner is a collective member of Chicks on Speed, co-curator of the project Ridykeulous, and a founding member of Working Artists and the Greater Economy (W.A.G.E.), and she collaborates with numerous visual and performing artists. Most recently, her site-specific photographic installationAngry, Articulate, Inevitable was part of P.S.1./MoMA's 2010 Greater New York, and her video works Community Action Center and C.L.U.E.were recently featured at the Tate Modern, the New Museum, the Institute of Contemporary Art/Boston, and the Zacheta National Gallery of Art. Her book Stop Onestar Press was published by Onestar Press in 2003 and her work is included in the permanent collections of the Museum of Modern Art and the Brooklyn Museum of Art in New York. She was awarded a 2010 Art Matters grant and was a featured lecturer at the 2011 Warhol Foundation Arts Writers/Creative Capital symposium. Steiner is based in Brooklyn, NY.
John TainJohn Tain is an art historian and curator. Tain has served as a curator for the modern and contemporary collections at the Getty Research Institute since the fall of 2007. His exhibition, “Greetings from L.A.: Artists and Publics, 1950-1980,” opens October 2011 at the Getty as part of the Pacific Standard Time initiative and will travel to the Martin-Gropius-Bau in Berlin in 2012. It examines the strategies and contexts artists in Southern California had for imagining and connecting to viewers and audiences. In January 2011, he co-curated a survey of “Video Art from the New China” that accompanied the “Photography from the New China” exhibition at the Getty Museum. Before coming to the Getty, Tain taught in Paris and at Kenyon College. His research on topics such as the historical avant-gardes, and Latin America and Surrealism, has been presented at symposia at the Getty, the Institut national de l'histoire de l'art (Paris), and elsewhere. His most recent essay (on Anselm Kiefer) is in issue 3 of the Getty Research Journal.