“Chris Ofili: Night and Day,” 2014. Exhibition view: New Museum. All artworks © Chris Ofili. Courtesy David Zwirner, New York/London. Photo: Maris Hutchinson/EPW
Join Naima J. Keith on Wednesday January 14 at 3:30 p.m. for a gallery-based talk in conjunction with “Chris Ofili: Night and Day.”
Outside the Box features gallery-based talks given by guest speakers over the course of a season. In this program, lecturers with diverse disciplinary backgrounds and affinities address the New Museum’s current exhibition(s) in forty-five- to sixty-minute presentations taking place exclusively in the Museum’s galleries. As a way to emphasize the Museum’s strong commitment to new art and new ideas, Outside the Box lecturers speak about the exhibitions or themes emergent in artists’ works from the various positions they occupy, be they academic, personal, political, etc., and engage in rich investigations that illuminate and probe the Museum’s current exhibition program.
For the fall 2014 season, Outside the Box talks include:
All Outside the Box talks are free with Museum admission, but attendance is limited. Please RSVP here for more information and to reserve a spot in the program.
Corey D’Augustine is a conservator of modern and contemporary art and a technical art historian. He regularly works for the Solomon R. Guggenheim Museum, New York, and lectures on art history and art conservation at New York University, Pratt Institute, the City College of New York, Sotheby’s Institute of Art, and the Museum of Modern Art, New York. He is a specialist in American and European post-war art and his research interests include twentieth-century painting materials and techniques and the conservation of monochrome paintings.
Naima J. Keith is Associate Curator at the Studio Museum in Harlem. Since joining the Studio Museum in 2011, she has organized numerous exhibitions, including “Kianja Strobert: Of This Day in Tim”e (2014), “Titus Kaphar: The Jerome Project” (2014), “Charles Gaines: Gridwork 1974–1989” (2014), “Glenn Kaino: 19.83” (2014), “The Shadows Took Shape” (co-curated with Zoe Whitley, 2013), “Robert Pruitt: Women” (2013), “Fore” (co-curated with Lauren Haynes and Thomas J. Lax, 2012), “Caribbean: Crossroads of the World” (Institutional Curator, 2012), “Collected. Ritual” (2011) and “John Outterbridge: The Rag Factory II” (2011). Keith received a BA from Spelman College and an MA in art history from the University of California, Los Angeles. She has lectured widely, including at the Zoma Contemporary Art Center, Addis Ababa, Ethiopia; the Sterling And Francine Clark Art Institute, Williamstown, MA; the Museum of Modern Art, New York, NY; and Brooklyn Museum, New York, NY. Her essays have been featured in publications for the Studio Museum in Harlem, Hammer Museum, LAXART, MoMA P.S.1, NKA: Journal of Contemporary African Art, and the University Art Museum, University of California, Santa Barbara. Keith has also taught at Loyola Marymount University; University of California, Los Angeles; University of California, Santa Barbara; and University of Missouri
Charlotta Kotik, a native of Prague, first came to the US to work at the Albright-Knox Art Gallery in Buffalo, NY. During the course of her career, she has organized over one hundred museum exhibitions, presenting works by artists as diverse as Mariko Mori, Kerry James Marshall, John Cage, Jenny Holzer, and Robert Longo. From 1992 through 2007, she was Curator and Chair of the Contemporary Art Department at the Brooklyn Museum where she established the Grand Lobby projects in order to provide exhibition opportunities for installation-based work by artists such as Martin Puryear and Petah Coyne, among others. In the 1980s, she initiated the “Working in Brooklyn Series” to document the energy of the nascent Brooklyn art scene and in l993, as the US commissioner for Venice Biennale, she presented works by Louise Bourgeois in an exhibition that later traveled internationally. Since 2000, Kotik has participated in the Jindrich Chalupecky Award, an important recognition for visual artists in the Czech Republic that has become a model for art programs in nine other post-Communist countries. Presently, Kotik works as a writer, lecturer, and independent curator, and facilitates various project for galleries, alternative spaces, and museums. She teaches at the School of Visual Arts in New York during the spring semester and at the Academy of Art, Architecture and Design in Prague during the winter semester.
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