Hyperallergic Members are invited to join us on April 29, 2025 for a virtual conversation with three prominent curators, who will share their thoughts on what they’re looking for in studio visits and how artists can build healthy relationships with curators in the field.
Moderated by Hrag Vartanian, this informal hourlong discussion with Kimberli Gant, Curator of Modern & Contemporary Art at the Brooklyn Museum of Art; Candice Hopkins, Executive Director & Chief Curator of Forge Project; and Caroline Liou, Curator at Fondazione Sandretto Re Rebaudengo; will highlight the importance of professional practices, clear communication, and how to ensure you get the most out of a studio visit while not stepping over the boundaries of a professional working environment.
We’ll also open the floor to questions during the conversation.
The conversation will take place over Zoom on Tuesday, April 29, at 3pm (ET).
All Hyperallergic Members are welcome. Members can find the registration link above when they sign in or in their latest Member newsletter.
Only active members can attend the discussion, so if you haven’t signed up yet, there’s still time to join! To access this event and more, you can become a member today at hyperallergic.com/membership.
As always, if you have any questions, please let us know at [email protected].
See you on April 29!
About the Speakers
Kimberli Gant is the Curator of Modern & Contemporary Art at the Brooklyn Museum of Art. She was previously the McKinnon Curator of Modern & Contemporary Art at the Chrysler Museum in Norfolk, Virginia, and has also worked as the Mellon Doctoral Fellow at the Newark Museum and Director of Exhibitions at the Museum of Contemporary African Diasporan Art (MoCADA). She has curated numerous exhibitions and gallery reinstallations, including Giants: Art from the Dean Collection of Swizz Beatz & Alicia Keys (2024), Spike Lee: Creative Sources (2023), Black Orpheus: Jacob Lawrence & the Mbari Club (2022), and more. She has published scholarly work in academic books, such as Anywhere But Here: Black Intellectuals in the Atlantic World and Beyond (2015), art publications such as NKA: Journal of Contemporary African Art, Art Lies and African Arts, and exhibition catalogues for the Chrysler Museum, the Newark Museum, the Contemporary Austin, the Studio Museum of Harlem, MoCADA, Paris Photo, and the Centre for Contemporary Art Lagos.
Candice Hopkins is a citizen of Carcross/Tagish First Nation and lives in Red Hook, New York. Her writing and curatorial practice explore the intersections of history, contemporary art, and Indigeneity. She is Executive Director and Chief Curator of Forge Project, Taghkanic, New York, and Fellow in Indigenous Art History and Curatorial Studies, Bard College. She is the curator of Indian Theater: Native Performance, Art, and Self-Determination Since 1969 at the Hessel Museum of Art and the touring exhibitions Soundings: An Exhibition in Five Parts, co-curated with Dylan Robinson, and ᑕᑯᒃᓴᐅᔪᒻᒪᕆᒃ Double Vision, featuring textiles, prints and drawings by Jessie Oonark, Janet Kigusiuq, and Victoria Mamnguqsualuk. She was the Senior Curator for the inaugural 2019 and 2022 editions of the Toronto Biennial of Art and part of the curatorial team for the Canadian Pavilion at the 58th Venice Biennale, featuring the work of the media collective Isuma; as well as documenta 14, Athens and Kassel; and Sakahàn: International Indigenous Art, National Gallery of Canada, Ottawa. Her notable essays include “The Gilded Gaze: Wealth and Economies on the Colonial Frontier,” in the documenta 14 Reader; “Outlawed Social Life,” in South as a State of Mind; and “The Appropriation Debates (or The Gallows of History)” in Saturation: Race, Art, and the Circulation of Value (New Museum/MIT Press, 2020).
Caroline Ellen Liou is currently Curator at Fondazione Sandretto Re Rebaudengo in Turin, Italy. Previously, she was at the Institute of Contemporary Art, Los Angeles (ICA LA), where she curated the first solo institutional exhibition of Jacqueline Kiyomi Gork, and helped organize the exhibitions Scientia Sexualis and Scratching at the Moon, in addition to contributing to their catalogues. Her curatorial practice is centered on interrogating the politics of inclusion and exclusion, while exploring strategies for repositioning difference. She graduated with a BFA in Painting from the Rhode Island School of Design and an MA in Art History from Courtauld Institute.
Hrag Vartanian is editor-in-chief of Hyperallergic, which he co-founded with his partner, Veken Gueyikian. In 2024, he was a Poynter Fellow in Journalism at Yale University and was awarded a Susan C. Larsen Lifetime Achievement Award for Visual Arts Writing by the Rabkin Foundation