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September 9-12, 2021   Javits Center

[Cancelled] Panel: Institutional Storytelling and Revisionist Histories

Sunday, March 8, 2020 12:30 PM

Armory Live Theater on Pier 94


Moderated by Anne Ellegood (Executive Director of the Institute of Contemporary Art, Los Angeles). Participants include Rita Gonzalez (Curator and Head of Contemporary Art at the Los Angeles County Museum of Art), Tomashi Jackson (artist), Asma Naeem (Eddie C. and C. Sylvia Brown Chief Curator at the Baltimore Museum of Art), and Enrico Riley (artist).

How are arts organizations making programmatic decisions and creating acquisitions policies that correct historical exclusions and respond to longstanding structural biases? How are curators and artists responding to the need for previously untold narratives and revisionist histories? What stories do they feel it is their responsibility or right to tell?

Anne Ellegood
Anne Ellegood started as the new Executive Director of the Institute of Contemporary Art, Los Angeles (ICA LA) in September 2019. Formerly the Santa Monica Museum of Art, ICA LA relocated to downtown Los Angeles in 2017. She was the Senior Curator at the Hammer Museum from 2009 to 2019. Previously, she was curator of contemporary art at the Hirshhorn Museum & Sculpture Garden in Washington DC, and associate curator at the New Museum of Contemporary Art in New York. Ellegood organized the first North American retrospective of the work of Jimmie Durham (2017), and co-curated the Hammer biennial Made in L.A. 2018 and Take It or Leave It: Institution, Image, Ideology (2014), which explored the overlapping strategies of appropriation and institutional critique in American art. Ellegood has organized numerous solo shows, including those featuring the works of Diana Al-Hadid, Eric Baudelaire, Kevin Beasley, Shannon Ebner, Latifa Echakhch, Charles Gaines, Judith Hopf, Yunhee Min, My Barbarian, Kelly Nipper, John Outterbridge, Tschabalala Self, Frances Upritchard, and Lily van der Stokker. Ellegood regularly writes about and lectures on contemporary art and museum practice, participating on panels, juries, and serves as a visiting critic to graduate programs in fine arts and curatorial practice.

Rita Gonzalez
Rita Gonzalez is the Terri and Michael Smooke Curator and Department Head of Contemporary Art at the Los Angeles County Museum of Art (LACMA), where she has curated Phantom Sightings: Art after the Chicano Movement; Asco: Elite of the Obscure; Lost Line: Contemporary Art from the Collection; Agnés Varda in Californialand, and In Production: Art and the Studio System, among other exhibitions and programs. Gonzalez curated L.A. Exuberance: New Gifts by Artists, an exhibition that featured sixty gifts and marked the culmination of LACMA’s 50th anniversary year. From 1997 to 1999, she was the Lila Wallace Curatorial Fellow at the Museum of Contemporary Art, San Diego. She was on the curatorial team for Prospect 3 New Orleans and part of the curatorial teams for the first Current L.A. Biennial in 2016 and the Gwangju Bienale in 2018. Together with Pilar Tompkins Rivas, she is curating Frieze Project at Frieze Los Angeles in 2020.

Tomashi Jackson
Tomashi Jackson is a multi-disciplinary artist who uses the formal properties of color perception as an aesthetic strategy to investigate the value of human life in public space. Her investigation into color perception as an aesthetic strategy began with a close reading of Josef Alber’s instructional text Interaction of Color (1963). In this text, Jackson observed that the language used to describe the formal interaction of colors mirrored the language of racial segregation found in sources such as United States public policy documents, court proceedings, and other documents that shape the use of public space. Jackson’s investigation of the shared language around color, whether in reference to race or formalism, offers a narrative framework from which she constructs her own language of abstraction.

Tomashi Jackson was born in Houston, Texas, in 1980, and grew up in Los Angeles, California. She received her MFA in Painting and Printmaking from Yale University School of Art in 2016; earned her MS in Art, Culture, and Technology from the MIT School of Architecture and Planning, Cambridge, in 2012; and her BFA from Cooper Union in 2010. In addition to her solo museum exhibition Interstate Love Song at the Zuckerman Museum of Art in Kennesaw, Georgia, Jackson’s work was included in the 2019 Whitney Biennial and was included in
In the Abstract at MASS MoCA, South Adams, and Legacy of the Cool A Tribute to Barkley L. Hendricks at the Bakalar & Paine Galleries at the Massachusetts College of Art, Boston, both 2018. She will have solo exhibitions at the Parrish Art Museum, Southampton, and the Radcliffe Institute, Cambridge, in 2020. She has participated in numerous other group exhibitions and had solo exhibitions at Tilton Gallery, New York, in 2016 and 2019.

Jackson's work is in the collection of the Museum of Contemporary Art, Los Angeles. She has taught at the Rhode Island School of Design, Providence, and at the Massachusetts College of Art, Boston, and Cooper Union, New York, and has been a visiting artist at New York University. She completed the Skowhegan summer residency and was a Resident Fellow at ARCAthens, Athens, Greece, in 2019. Jackson lives and works in Cambridge, Massachusetts, and New York City.

Asma Naeem
Asma Naeem is the Eddie C. and C. Sylvia Brown Chief Curator at the Baltimore Museum of Art (BMA), and a specialist in American art and contemporary Islamic art. Before joining BMA, she was curator of Prints, Drawings, and Media Arts at the National Portrait Gallery, Smithsonian Institution, Washington, DC. Her shows there included UnSeen: Our Past in a New Light, Ken Gonzales-Day and Titus Kaphar, co-curated with Taína Caragol, and Black Out: Silhouettes Then and Now. The former show won the Award for Excellence from the Association of American Museum Curators, and the latter won the Special Achievement award in the 2018 Smithsonian Excellence in Exhibitions awards program. Asma’s work has been published in Artforum and American Art, among others; Princeton University Press published her first book on silhouettes, and her second book, Out of Earshot: Sound, Technology, and Power in American Art, 1860-1900, is available in January 2020 by the University of California, Berkeley Press. Asma holds a PhD in art history from the University of Maryland, a JD from Temple University, and a BA in art history and political science from Johns Hopkins University. Before returning to art history, she practiced law as a criminal prosecutor in Manhattan and as an ethics prosecutor in Washington, DC.

Enrico Riley
Enrico Riley is Chair and the George Frederick Jewett Professor of Studio Art at Dartmouth College in Hanover, New Hampshire. He currently lives in Norwich, Vermont. Riley received a BA in Visual Studies from Dartmouth College and an MFA in painting from Yale University School of Art. He is the recipient of a John Simon Guggenheim Memorial Foundation Fellowship, a Rome Prize in Visual Arts, an American Academy of Arts and Letters Purchase Prize in painting, and a Jacobus Family Fellowship. He has exhibited work both nationally and internationally. Some exhibitions have been held at Jenkins Johnson Projects, Brooklyn; The American Academy in Rome; the Virginia Museum of Fine Arts, Richmond; The Columbus Museum; The Nasher Sculpture Center, Dallas; American Academy of Arts and Letters, New York; Hood Museum of Art, Hanover, New Hampshire; Museum for the National Center of Afro-American Arts, Roxbury, Massachusetts; Accademia di Belle Arti di Roma, Rome; Rhode Island School of Design, European Honors Program, Rome; Teckningsmuseet, Laholm, Sweden; Giampietro Gallery, New Haven, Connecticut; Hampshire College, Amherst, Massachusetts; Lori Bookstein Fine Art, New York; The Painting Center, New York; and SACI School of Art Florence, Italy. His work is included in the collections of the Virginia Museum of Fine Arts, Richmond, The Studio Museum in Harlem, the Columbus Museum, and the Hood Museum of Art. His work have been reviewed in Art New England, The New Criterion, and the New York Times.

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Image courtesy of Enrico Riley and Jenkins Johnson Gallery