STRATEGIES FOR FEMINIST CURATING: a lecture by Catherine Morris
Sackler Family Curator, Brooklyn Museum's Elizabeth A. Sackler Center for Feminist Art
Thursday, April 9, 2015
2 – 3:30 pm, followed by a light reception until 4 pm
University of Ottawa, Desmarais, 55 Laurier, room 12110
Co-presented by the Ottawa Art Gallery and the University of Ottawa
In the exhibition Alma: The Life and Art of Alma Duncan (1917-2004) held at the Ottawa Art Gallery in 2014, co-curators Jaclyn Meloche and Catherine Sinclair worked to recover Alma Duncan’s life and work in a comprehensive retrospective of the artist’s career. The exhibition inspired questions such as: what does it mean to recover a woman artist today?; is there still an institutional need to practice feminist art history?; and what are the contemporary conditions for the women’s recovery project? In this context, the OAG and the University of Ottawa have invited Curator Catherine Morris as a fresh voice in this field, to speak on her work at the Brooklyn Museum and on her point of view on the questions above.
Catherine Morris is Sackler Family Curator of the Elizabeth A. Sackler Center for Feminist Art, at the Brooklyn Museum. Since her appointment to this position in 2009, she has curated numerous exhibitions including Zanele Muholi: Isibonelo/Evidence (2015); Judith Scott – Bound and Unbound (co-curated with Matthew Higgs in 2014); Chicago in L.A.: Judy Chicago’s Early Work, 1963-74 (2014); Twice Militant: Lorraine Hansberry’s Letters to ‘the Ladder’ (2013); Between the Door and the Street: A Project Initiated by Suzanne Lacy (2013); “Workt by Hand”: Hidden Labor and Historical Quilts (2013); Kathë Kollwitz: Prints from the War and Death Portfolios (2013); Materializing Six Years: Lucy R. Lippard and the Emergence of Conceptual Art (co-curated with Vincent Bonin in 2012); Rachel Kneebone: Regarding Rodin (2012); Newspaper Fictions: The New York Journalism of Djuna Barnes, 1913-1919 (2012); Matthew Buckingham: The Spirit and the Letter (2011); Lorna Simpson: Gathered (2011); Sam Taylor-Wood: Ghosts (2010); Kiki Smith: Sojourn (2010); and Healing the Wounds of War: The Brooklyn Sanitary Fair of 1864 (2010). She was in-house curator of the exhibition Eva Hesse Spectres 1960 (2011); and Seductive Subversion: Women Pop Artists, 1958- 1968 (2010).
Previous to her work at the Brooklyn Museum, Catherine organized several independent curatorial projects including Decoys, Complexes and Triggers: Women and Land Art in the 1970s, SculptureCenter, Long Island City (2008); 9 Evenings Reconsidered: Art, Theatre and Engineering, 1966, List Visual Arts Center, MIT (2006); and Gloria: Another Look at Feminist Art of the 1970s and Food, White Columns, New York (2002 and 1998 respectively). From 2004 to 2009 she was Adjunct Curator of Contemporary Art at the Philbrook Museum, Tulsa, where she curated projects by Josiah McElheny, Lucy Gunning and Cameron Martin.