Cornish College of the Arts
IYRS School of Technology and Trades
New York Academy of Art
University of North Texas
Kansas State University
University of California, Davis
New Jersey City University
Claremont Graduate University
Minneapolis College of Art and Design
Boise State University
Virginia Commonwealth University School of the Arts
Central Washington University
Lisa Corinne Davis
Rhode Island School of Design
Parsons School of Design
East Tennessee State University
Pennsylvania Academy of the Fine Arts
University of Wisconsin-Madison
Laguna College of Art and Design
Maryland Institute College of Art
San Francisco Art Institute
University of the Arts
Cleveland Institute of Art
University of North Carolina Asheville
Savannah College of Art and Design
California College of the Arts
School of the Art Institute of Chicago
Lamar Dodd School of Art
Kent State University
Ian Alteveer is Aaron I. Fleischman Curator in the Department of Modern and Contemporary Art at The Metropolitan Museum of Art. He recently co-curated retrospectives for Kerry James Marshall (2016), Marisa Merz (2017), and David Hockney (2017–18). He organized three Roof Garden Commissions at the museum for Pierre Huyghe (2015), Dan Graham with Günter Vogt (2014), and Imran Qureshi (2013) as well as the installation of William Kentridge: The Refusal of Time (2013). Before The Met, he was a graduate curatorial fellow and curatorial assistant at New York University's Grey Art Gallery. He has an undergraduate degree from Stanford University and completed his qualifying exams for a PhD at New York University's Institute of Fine Arts in 2006.
Massimiliano Gioni is the Artistic Director of the New Museum in New York. He also directs the Nicola Trussardi Foundation in Milan and has organized numerous international exhibitions including the 55th Venice Biennale (2013), the 8th Gwangju Biennale (2010), the inaugural New Museum Triennial (2009), the 4th Berlin Biennale (2006), and Manifesta 5 (2004). At the New Museum he has curated solo exhibitions by, among others: John Akomfrah, Thomas Bayrle, Tacita Dean, Carsten Hoeller, Ragnar Kjartansson, Sarah Lucas, Chris Ofili, Carol Rama, Pipilotti Rist, Anri Sala, Jim Shaw, Nari Ward, and Apichatpong Weerasethakul. His group shows at the New Museum include: "Ghosts in the Machine" (2013), "Here and Elsewhere" (2014), "The Keeper" (2016), "NYC 1993: Experimental Jet Set, Trash, and No Star" (2013), "Ostalgia" (2011). He is currently at work on a group show titled "The Warmth of Other Suns" which will open at the Phillips Collection in Washington DC in June 2019, and on the exhibition "Appearance Stripped Bare: Desire and the Object in the Work of Marcel Duchamp and Jeff Koons, Even" which will open at Museo Jumex in Mexico City in May 2019.
Jennie Goldstein is Assistant Curator at the Whitney Museum where she works closely with the permanent collection. She curated Christine Sun Kim: Too Much Future (2018); co-curated An Incomplete History of Protest: Selections from the Whitney's Collection, 1940-2017 (August 2017-August 2018); and has collaborated on other large-scale exhibitions including Human Interest: Portraits from the Whitney's Collection and Where We Are: Selections from the Whitney's Collection, 1900-1960. She has also organized collection displays of works on paper by Glenn Ligon and video works by Rosa Aiello, Tala Madani, and Amy Sillman. While pursuing her doctorate in art history at Stony Brook University Jennie worked in the Whitney's Education department as a Joan Tisch Teaching Fellow. She has a BA in art history from Oberlin College and an MA in art history from Stony Brook University.
Cara Manes is Associate Curator in the Department of Painting and Sculpture at The Museum of Modern Art, where she works extensively on the ongoing displays the collection galleries and sculpture garden, as well as on temporary exhibitions. Most recently she organized Artist's Choice: Peter Fischli (2018, co-organized with Peter Fischli); Studio Visit (2018, co-organized with Ann Temkin); The Long Run (2017, co-organized with Paulina Pobocha); Projects 104: Nástio Mosquito (2016); and Take an Object (2015). She has also contributed to numerous other exhibitions, including Ellsworth Kelly: The Chatham Series (2013), Artist's Choice: Trisha Donnelly (2012), and Bauhaus 1919-1933: Workshops for Modernity (2009). Manes' writing has appeared in a variety of publications, including Among Others (MoMA, fall 2019), Being Modern (Fondation Louis Vuitton, 2017), Hans Arp and the United States (Stiftung Arp, 2016), and Films and Videos by Robert Morris (Museu Serralves, 2011). She holds degrees from Wellesley College and The City University of New York.
Sanford Biggers (b. 1970) was raised in Los Angeles and currently lives and works in New York City. He was awarded the 2017 Rome Prize in Visual Arts. He has had solo exhibitions at the Contemporary Art Museum St. Louis, Missouri; the Museum of Contemporary Art Detroit, Michigan (2016); the Massachusetts Museum of Contemporary Art, North Adams (2012); and the Brooklyn Museum, New York (2011), among others. His work has been shown in several institutional group exhibitions including at the Menil Collection, Houston (2008) and the Tate Modern, London (2007), as well as in recent exhibitions at the Metropolitan Museum of Art, New York (2017) and the Barnes Foundation, Philadelphia (2017). Biggers’ work is held in the collections of the Museum of Modern Art, New York; the Metropolitan Museum of Art, New York; the Whitney Museum of American Art, New York; the Museum of Contemporary Art, Chicago; the Walker Art Center, Minneapolis; the National Museum of African American History and Culture, Washington D.C.; the Dallas Museum of Art, Texas; and the Legacy Museum, Montgomery, among others.
Will Cotton (b. 1965) was born in Melrose, Massachusetts and raised in New Paltz, New York. He has a BFA from Cooper Union in New York City. His work often explores themes of gluttony, beauty and desire. His paintings are in the permanent collections of the National Portrait Gallery, Washington, D.C.; the Smithsonian American Art Museum, Washington, D.C.; the Seattle Art Museum, Washington; the Columbus Museum of Art, Ohio; and the Orlando Museum of Art, Florida, as well as in many prominent private collections. Cotton served as the artistic director of the California Gurls music video for pop singer Katy Perry and his works are the subject of a monograph published by Rizzoli, USA. He has been represented by Mary Boone Gallery in New York since 1999.
John Currin (b. 1962) was born in Boulder, Colorado, and lives and works in New York. He holds an MFA from Yale University, New Haven, and a BFA from Carnegie Mellon University, Pittsburgh. With inspirations as diverse as Old Master portraits, obscure stock photography, pornography and B movies, Currin paints perverse depictions of women and men, alone and in pairs and groups. A consistent thread throughout his work is the search for an equilibrium between the beautiful and the bizarre. His paintings are included in the collections of the Museum of Modern Art, New York; Whitney Museum of American Art, New York; Museum of Contemporary Art, Los Angeles; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Walker Art Center, Minneapolis; Art Institute of Chicago, Illinois; Des Moines Art Center, Iowa; Tate, London; and Centre Pompidou, Paris, among others. Exhibitions include Works on Paper, Des Moines Art Center, Iowa (2003, traveled to Aspen Art Museum, Colorado); Museum of Contemporary Art Chicago, Illinois (2003, traveled to Serpentine Gallery, London; and Whitney Museum of American Art, New York, through 2004); DHC/ART, Montreal (2011); John Currin meets Cornelis van Haarlem, Frans Hals Museum, Haarlem, Netherlands (2011–12); and Paintings, Museo Stefano Bardini, Florence, Italy (2016).
In September 2019, Dallas Contemporary, Texas will present a solo exhibition of Currin’s work.
Tschabalala Self (b. 1990) is a painter from Harlem, New York. She received her BA from Bard College in 2012 and her MFA from the Yale School of Art in 2015. Selected recent solo exhibitions include Bodega Run, Hammer Projects, Hammer Museum, Los Angeles (2019); Tschabalala Self, Frye Museum, Seattle (2019); Bodega Run, Yuz Museum, West Bund Shanghai (2018); Bodega Run, Pilar Corrias Gallery, London (2017); Sour Patch, Thierry Goldberg, Miami (2017); Tschabalala Self, Tramway, Glasgow (2017); Tschabalala Self, Parasol Unit Foundation for Contemporary Art, London (2017); Desire, Moore Building, Miami (2016); and The Function, T293, Naples, Italy (2016). Recent group exhibitions include The Beyond: Georgia O’Keeffe and Contemporary Art, Crystal Bridges Museum of American Art, Bentonville (2018); Trigger: Gender as a Tool and a Weapon, New Museum of Contemporary Art, New York (2017); A Shape That Stands Up, Art + Practice, Los Angeles (2016); A Constellation, Studio Museum in Harlem, New York (2015); and MOOD, MoMA PS1 in collaboration with the Studio Museum in Harlem, Queens (2019).
Jennifer is AXA XL’s Global Practice Leader for Art. She has a BA in art history and economics from Georgetown University and a BS in interior architecture from the University of Wisconsin, Madison. As AXA XL’s Global Practice Leader for Art, Jennifer is responsible for setting worldwide strategy for client solutions, Underwriting guidelines and ultimate profitability. She’s been dedicated to the highly specialized fine art underwriting market for nearly twenty years and recently helped establish the AXA Art Prize. She previously led the organization’s North American Fine Art & Specie team while also serving as leader of Broker and Client Management for North American Specialty.
Jennifer is actively engaged in various arts organizations, teaches fine art underwriting courses and regularly participates in industry educational conferences. She also pursues continuing education classes in painting at the New York Academy of Arts and is an active patron of the Academy, Tandem Press and other art related organizations.