Research Assistant Professor of Art Criticism
Rhea Anastas is an art historian and critic. She taught art history at The Center for Curatorial Studies and Art in Contemporary Culture, Bard College, from 2001-2008. She was co-founder of the cooperatively organized Orchard on New York's Lower East Side (2005-2008) where she curated exhibitions and programs. ??She has co-edited the books Dan Graham: Works 1965-2000 (2001) and (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). Recent articles include "The Artist Is a Currency," with Gregg Bordowitz, Andrea Fraser, Jutta Koether, and Glenn Ligon, Grey Room 24 (Summer 2006); "A Rendezvous Under the Counter: On David Joselit and Gareth James at Elizabeth Dee Gallery, New York," Texte zur Kunst no. 65 (March 2006); "Her Kindling Voice: The Artist Interview According to Louise Lawler," Texte zur Kunst no. 67 (September 2007). Anastas is a contributor to the forthcoming publication for the 2009 retrospective exhibition Dan Graham: Beyond, at the Museum of Contemporary Art, Los Angeles. She is currently working on a book about Andrea Fraser's Untitled 2003. Anastas earned a B.A. and an M.A. from Columbia University, and a Ph.D. from the Graduate School and University Center, City University of New York.
Anne Bray has been working at the intersection of public art and media art since the mid '70s, as an artist, art teacher and administrator. Bray is the Executive Director of Freewaves, a media arts organization and festival in Los Angeles. She has organized many exhibitions of video art in public venues, including (during 2008), projected videos on the Getty Museum's exterior walls; the LAX Airport international arrival area; the "Hollywould Festival" on Hollywood Boulevard; the Art on the Waterfront in San Pedro Harbor, and VJ events.?? Bray has served as an advisor to DIY Video 24/7, L.A. Festival, High Performance, KCET, California Digital Arts Workshop, Deep Dish TV Interdisciplinary Arts Caucus, Blue Line Televillage, FreeSpeech TV Filmforum and others. As a nominator or juror, she has advised the Rockefeller Foundation, Art Matters, UNESCO, Durfee Foundation, Civitella Ranieri Foundation, and the Creative Capital Fund.
Karen Moss is an art historian, curator and educator who has worked in museum and academic positions since 1980. Currently, she is Deputy Director for Exhibitions and Programs at the Orange County Museum of Art where she oversees all curatorial, education and public programs. During her tenure at OCMA, Moss has curated Art Since the 1960s: California Experiments (2007-2008); Disorderly Conduct: Recent Art in Tumultuous Times (2008); Chris Burden: Tale of Two Cities (2007); Imaging and Imagining California (2007); and was co-curator for California Modern (2005-2006), the 2006 California Biennial, as well as numerous artists' residencies and public projects. Prior to OCMA, Moss was Director of Exhibitions and Public Programs and graduate faculty at the San Francisco Art Institute (1999-2004), where she curated exhibitions, organized international artists residencies and public programs; Associate Curator (1995-1996) and Director of Education and Community Programs (1996-1999) at the Walker Art Center, and Director of Programs at the Santa Monica Museum of Art (1989-1993) where she curated exhibitions and organized the museum's Artists Project Series. Earlier in her career she was an Assistant Curator at the Museum of Contemporary Art, Los Angeles (1985-1987); Curatorial Assistant at the San Francisco Museum of Modern Art (1980-1981) and Berkeley Art Museum (1978-1979), and attended the Whitney Independent Study Program (1979-1980).
Carol Stakenas joined LACE (Los Angeles Contemporary Exhibitions) as its Executive Director in September 2005. Stakenas arrived from New York, where she had served as the Director of the Third Millennium Foundation's International Center for Tolerance Education, whose program focused on exemplary interdisciplinary work in human rights. She was also the Deputy Director/Curator of Creative Time, New York City's adventurous public arts presenter, and produced artwork at sites such as the Brooklyn Bridge Anchorage, Times Square and Grand Central Terminal. Since 1978, LACE has fostered artists who innovate, experiment, explore, and risk. LACE operates within and beyond the walls of its' building to provide opportunities for diverse audiences to engage deeply with contemporary art. In this past year, Stakenas has produced an exciting range of creative and educational activities including 11 exhibitions, more than 40 public programs including Karaoke Ice, a mobile public art project. Stakenas has lectured at a range of institutions, including the Boston Cyberarts Festival, Concordia University in Montreal, The Leeds Film Festival, The University of Wisconsin-Madison, and the Banff Centre for the Arts.
Gloria Sutton is an art historian and curator. She received her PhD from UCLA and has been a fellow at the Getty Research Institute and the Whitney Independent Study Program. Gloria is also on the advisory board of Contemporary Culture Index (www.ccindex.info). Her writing on the history of media art is included in Future Cinema: The Cinematic Imaginary after Film (MIT Press, 2003) and Mainframe Experimentalism: Early Digital Computing and the Experimental Arts (forthcoming from UC Press). She has published catalogue essays on the work of Ren�e Green, Kelly Nipper, Laura Owens, Kerry Tribe, and is a curatorial contributor to Ice Cream: Contemporary Art in Culture (Phaidon, 2007). At the Museum of Contemporary Art in Los Angeles she curated MOCA Focus: Karl Haendel and was the project coordinator for Ecstasy: In and About Altered States. She is a co-curator for How Many Billboards? an outdoor exhibition project organized by the MAK Center for Art and Architecture that begins in February 2010. Currently, she is writing a book on Stan VanDerBeek and American Expanded Cinema practices of the 1960s.