The Curatorial Roundtable, an international forum for curators and institutional leaders to discuss formative and current projects, is hosted by Steven Henry Madoff, Founding Chair of the MA Curatorial Practice at the School of Visual Arts in New York City.

Currently working between New York and Berlin as curator-at-large for Performa, Defne Ayas has previously served as a director, co-director, curator, and advisor to several cultural institutions and research initiatives, including Kunstinstituut Melly (formerly known as Witte de With Center for Contemporary Art) (2012-2017), Arthub Asia, the New Museum, and V-A-C Foundation.  At Performa, Ayas recently presented Protest and Performance: A Way of Life (with Kathy Noble, 2023), which included performances by Gregg Bordowitz and Pamela Sneed, Rana Hamadeh, and Göksu Kunak. She also co-organized Sonic Tonic Assembly (with publics). Ayas co-curated the 13th Gwangju Biennale (with Ginwala) in 2021, the 6th Moscow Biennale in 2015, and the 11th Baltic Triennale in 2012. Ayas is a founding curator of Blind Dates (with Neery Melkonian), which addresses the traces of the peoples, places, and cultures that once constituted the diverse geography of the Ottoman Empire (1299-1922). Her latest curatorial endeavor, Sarkis: 7 Days, 7 Night, was on view at Kunsthalle Baden-Baden until February 2024. Register here.

The Curatorial Roundtable, an international forum for curators and institutional leaders to discuss formative and current projects, is hosted by Steven Henry Madoff, Founding Chair of the MA Curatorial Practice at the School of Visual Arts in New York City.

Yuko Hasegawa is the director of the 21st Century Museum of Contemporary Art, Kanazawa and professor of curatorial and art theory at Tokyo University of the Arts. Hasegawa's past positions include: Chief Curator of the Museum of Contemporary Art, Tokyo from 2006 to 2020 and Chief Curator and Founding Artistic Director of the 21st Century Museum of Contemporary Art, Kanazawa from 1999 to 2006. Hasegawa was a board member of Hong Kong's West Kowloon Cultural District Authority from 2009 to 2011 and has remained a member of the Asian Art Council at the Solomon R. Guggenheim Museum in New York since 2008. She is also a member of the Istanbul Biennale Advisory Board.

Hasegawa is known for her work in various biennales, including the 7th Moscow Biennale (Curator, 2017), 11th Sharjah Biennale (Curator, 2013), 12th Venice Biennale of Architecture (Artistic Advisor, 2010), the 29th São Paulo Biennale (Co-Curator, 2010), the 4th Seoul International Media Art Biennale (Co-Curator, 2006), and the 7th Istanbul Biennial (Curator, 2001). Her recently curated exhibitions include Feminisms (2022), looking at pluralistic feminisms through the lens of contemporary art since the 1990s, 21st Century Museum of Contemporary Art, Kanazawa; Olafur Eliasson: Sometimes the river is the bridge (2020), 21st Century Museum of Contemporary Art, Kanazawa; Fukami: A Plunge into Japanese aesthetics, Hotel Salmon de Rothschild, Paris (2018); Japanorama: New Vision on Art Since 1970, Centre Pompidou-Metz (2017); and Kishio Suga: Situations, Pirelli Hangar Bicocca, Milan (2016). She is also the artistic director of the Inujima Art House Project. Hasegawa was a member of the juries that selected Doris Salcedo (2019) for the Nomura Art Award; and Salcedo (2016), Isa Genzken (2019), Michael Rakowitz (2020), Senga Nengudi (2023), and Otobong Nkanga (2024) for the Nasher Prize. Register here.

As AI continues to weave its influence into the art world's fabric, understanding its multifaceted impact becomes increasingly essential. This panel unites three influential curators to explore the complex relationship between artificial intelligence and cultural curation. Joasia Krysa, co-creator of the project, The Next Biennial Should Be Curated by a Machine, envisions a future of curatorial practices from which AI emerges as a “self-learning human-machine system.” Nora N. Khan, a critic and the author of the forthcoming book, AI Art and the Stakes for Art Criticism, discusses how computation reframes traditional humanistic approaches to art and its interpretation. Helen Starr addresses how digital systems, including AI, shape our behavior, sometimes beyond our conscious awareness. She emphasizes the critical roles of community, healing, and learning within the realm of digital art. This discussion offers a synthesis of technological observations and curatorial expertise, shedding light on the transformative nature and challenges of AI within the contemporary artistic landscape.

The conversation will be moderated by Isin Onol, Director of Curatorial Research at MA Curatorial Practice, School of Visual Arts. Register Here.

The Curatorial Roundtable, an international forum for curators and institutional leaders to discuss formative and current projects, is hosted by Steven Henry Madoff, Founding Chair of the MA Curatorial Practice at the School of Visual Arts in New York City.

Anca Rujoiu is a curator and editor living in Singapore. As curator of exhibitions and later head of publications (2013–18), she was a member of the founding team of the NTU Centre for Contemporary Art Singapore contributing to the institution’s numerous exhibitions, public programs, and publishing projects. She worked closely with the Centre’s Founding Director, Ute Meta Bauer, to align the institutional infrastructure holistically with the curatorial program. The initial three-year overarching program, Place.Labour.Capital., built connections across research, residencies, and exhibitions with artists Simryn Gill, Allan Sekula, Trinh T. Minh-ha, to name a few. Rujoiu was the co-editor of several publications including, the artist’s books Thao Nguyen Phan: Voyages de Rhodes (2018) and Simryn Gill & Michael Taussig: Becoming Palm (2017). In 2019, she was the co-curator of the third edition of the Art Encounters Biennial in Timișoara, approached as a one-year institutional program. As part of the curatorial initiative, FormContent in London, Rujoiu worked on a nomadic project, It’s Moving from I to It (2012-2014), that took the format of a script comprised of seventeen “scenes”: exhibitions, workshops, commissioned texts, and the like. She is a PhD candidate at Monash University, Melbourne. Drawing on feminist methodologies, her PhD research, First-Person Institutions, focuses on institution-building, artists’ archives, and transnational imaginaries across the Asia-Pacific region. Whether working in a contemporary art center, an independent space, an art school, or in the context of a biennial, Rujoiu has been passionate about decentering curatorial practice and stretching the possibilities of how cultural production can be made public, experienced, discussed, or written about. Register here.

The Curatorial Roundtable, an international forum for curators and institutional leaders to discuss formative and current projects, is hosted by Steven Henry Madoff, Founding Chair of the MA Curatorial Practice at the School of Visual Arts in New York City.

Magdalena Moskalewicz, PhD, was the Chief Curator of FRONT International: Cleveland Triennial for Contemporary Art at the time of its sudden closing last month. For this session of the Curatorial Roundtable, Moskalewicz will discuss a selection of her past exhibitions that investigated histories, localities, and identities of postsocialist Eastern Europe and her own geopolitical positioning and agency as a curator. An art historian, author, and editor, Moskalewicz has engaged in the revisionist rewriting of art histories and in exploring parallels between the postsocialist and postcolonial conditions through both academic publications and curatorial practice. Born in Warsaw, Poland, Moskalewicz has worked at collecting, exhibiting, and academic institutions internationally, including The Museum of Modern Art, New York, where she was the Andrew W. Mellon Postdoctoral Fellow for C-MAP, MoMA’s global research initiative; the 56th Venice Biennale, where she curated the Polish Pavilion; and the School of the Art Institute of Chicago, where she taught and mentored artists and arts administrators. Her recent writing includes contributions to Magdalena Abakanowicz (Tate 2022), Reconstructing Exhibitions in Art Institutions (Routledge 2023), and Was Socialist Realism Global? (MSN 2024). Register here.

The Curatorial Roundtable, an international forum for curators and institutional leaders to discuss formative and current projects, is hosted by Steven Henry Madoff, Founding Chair of the MA Curatorial Practice at the School of Visual Arts in New York City.

Alexandre Melo is Professor of Sociology of Art and Culture at ISCTE-University Institute of Lisbon and a curator and art critic. Since the early 1980s, he has written for publications such as Jornal de Letras (Lisbon), Expresso (Lisbon), El País (Madrid), Flash Art (Milan), and Parkett (Zurich). He is a regular contributor to Artforum (New York). Melo has curated exhibitions in Portugal and abroad: 10 Contemporary, Serralves Museum, Porto; Eduardo Batarda, Gulbenkian Foundation, Lisbon: Venice Biennial—Julião Sarmento; São Paulo Biennial—Rui Chafes / Vera Mantero; Portugal Novo, Pinacoteca São Paulo, etc. His recent exhibitions include Liquid Skin - Apichatpong Weerasethakul / Joaquim Sapinho, MAAT, Lisbon; Roi Soleil—Albert Serra, Galeria Graça Brandão, Palácio Pombal, Lisbon; E pluribus unum—Douglas Gordon, Miroslaw Balka, Rui Chafes, Galeria Marília Razuk, São Paulo; 1000 Imagens—John Baldessari, Joseph Kosuth, Lawrence Weiner, Renee Greene, Pratchaya Phintong, Rosângela Rennó, Wantanee Siripatananunthakul, Galeria Cristina Guerra, Lisbon; Life, Still Life—Cristina Iglesias, Lia Chaia, Vasco Araujo, Galeria Presença, Porto. Melo was the curator of the contemporary art collections of the Ellipse Foundation and the Banco Privado for Serralves. He has served as Cultural Counselor in the Portuguese government (2005/2011).

Melo will discuss his exhibition How Many Worlds Are We?, which took place July 20 through October 29, 2023, in Bangkok, along with other projects.

Register here.

Behind AI's advancements lies a tapestry of human interactions, troves of user-generated data, and labor, often unseen but foundational. As AI's capabilities continue to expand, this conversation peels back AI's layers, revealing its human and environmental core beyond the code. How do automation technologies like AI impact the future of labor and the labor market? If AI is perceived as a new "black box" – a layer of abstraction that obscures the underlying physical and human resources, rendering them invisible and replaceable – how might this affect the evolution of social class relations and the emergence of new social conflicts?

Artist Stephanie Dinkins, intrigued by the potential bond between artists and socially engaged robots, envisions technological ecosystems rooted in care and equity. Vladan Joler, renowned for his detailed mappings of the unseen infrastructures within AI systems, brings to light the intricate web of human narratives and environmental impacts concealed within these technological advancements. His work, a profound dissection of the algorithmic ecosystem, underscores the hidden labor and resources that are AI's unseen backbone, drawing attention to the broader socio-political and environmental implications, as well as the power dynamics interwoven within these systems. Artist Josh Kline, focusing on labor and class, examines the significant effects of climate change, automation, and the erosion of democracy.

The conversation will be moderated by Isin Onol, Director of Curatorial Research at MA Curatorial Practice, School of Visual Arts. Register Here.

The Curatorial Roundtable, an international forum for curators and institutional leaders to discuss formative and current projects, is hosted by Steven Henry Madoff, Founding Chair of the MA Curatorial Practice at the School of Visual Arts in New York City.

Matt Williams is the Public Programme curator at Camden Art Centre. He has organized numerous monographic, group exhibitions and public programmes nationally and internationally to develop a unique portfolio of cultural initiatives and interdisciplinary projects at the intersection of art and society in conversation with creative practitioners, academics, publishers, and independent organisations. Register here.

Join us for this thought-provoking panel discussion that highlights the intersections of technology and aesthetics within the framework of what is known as “Adversarial Aesthetics.” Joanna Zylinska, an artist and media philosopher acclaimed for her provocative text, AI Art: Machine Visions and Warped Dreams, will explore the algorithmic state of perception outlined in her latest book, The Perception Machine, while calling for a reevaluation of the artist's role in the digital era. Nadja Verena Marcin, the creator of #SOPHYGRAY, a feminist voice bot, will speak about her innovative approach, combining technology and feminist discourse. Trained to hold conversations about identity, art, and feminism. #SOPHYGRAY answers questions in a surprising, philosophical, and humorous way from various feminist perspectives, adding a unique layer to our understanding of digital communication. Alongside them, Rosemary Lee, an artist and media researcher whose work examines the narrative of art and technology, will share insights from her forthcoming book Algorithm, Image, Art, and her new project, A Structural Plan for Imitation. These leading voices shed light on how digital technologies influence and are influenced by cultural narratives, ethical considerations, and artistic innovation, offering their perspectives in an increasingly algorithmic world. The conversation will be moderated by Isin Onol, Director of Curatorial Research at MA Curatorial Practice, School of Visual Arts. Register Here.

The Curatorial Roundtable, an international forum for curators and institutional leaders to discuss formative and current projects, is hosted by Steven Henry Madoff, Founding Chair of the MA Curatorial Practice at the School of Visual Arts in New York City.

Dr. Eva Kraus has been director of the Bundeskunsthalle in Bonn since August 2020. Previously, she was artistic director and managing director of the Neues Museum – Staatliches Museum für Kunst und Design in Nuremberg, founder and director of Galerie Steinle Contemporary in Munich, and director of the Friedrich Kiesler – in Vienna. Her most recent exhibition at the Bundeskunsthalle, which closed at the end of January, was Everything at Once: Postmodernity 1967–1992, a massive survey of design objects, artworks, and artifacts from the dawn of the information society through the end of the Cold War. Along with her curatorial work there, Kraus has curated numerous exhibitions among others in her early career at the Cooper-Hewitt National Design Museum in New York and the MAK – Austrian Museum of Applied Arts/Contemporary Art in Vienna. Her expertise and curatorial practice focus mainly on the fields of applied arts, design, fashion, architecture, and contemporary art, with an emphasis on ecologically and socially sustainable working methods. Kraus is in the midst of professionalizing sustainability at the Bundeskunsthalle. She lives in Bonn and Munich.

In this talk, Kraus will focus on the making of Everything at Once: Postmodernity 1967–1992.

The Curatorial Roundtable, an international forum for curators and institutional leaders to discuss formative and current projects, is hosted by Steven Henry Madoff, Founding Chair of the MA Curatorial Practice at the School of Visual Arts in New York City.

Jo Ying Peng is an independent curator currently based in Mexico City and runs Vernacular Institute. Her practice ranges across curatorial, editorial, and cinematic boundaries to expand possibilities beyond linear narratives. Register here.

The Curatorial Roundtable, an international forum for curators and institutional leaders to discuss formative and current projects, is hosted by Steven Henry Madoff, Founding Chair of the MA Curatorial Practice at the School of Visual Arts in New York City.

Margot Norton is Chief Curator at the Berkeley Art Museum and Pacific Film Archive (BAMPFA), where she leads the curatorial team and oversees the exhibition program. At BAMPFA she curated the exhibition Gabriel Chaile: No hay nada que destruya el corazón como la pobreza, on view through April 13, 2024. Norton was previously Allen and Lola Goldring Senior Curator at the New Museum, New York, where she recently co-curated the 2021 New Museum Triennial: Soft Water Hard Stone; Wangechi Mutu: Intertwined; and Pepón Osorio: My Beating Heart/ Mi corazón latiente. At the New Museum, she has also curated solo exhibitions with Carmen Argote, Judith Bernstein, Diedrick Brackens, Pia Camil, Sarah Charlesworth, Lynn Hershman Leeson, Ragnar Kjartansson, Sarah Lucas, Chris Ofili, Goshka Macuga, Nathaniel Mellors, Laure Prouvost, Pipilotti Rist, Mika Rottenberg, Kaari Upson and Bárbara Wagner and Benjamin de Burca, among others, and group exhibitions including The Keeper, Here and Elsewhere, and NYC 1993: Experimental Jet Set, Trash and No Star. In 2017, she curated the Eighth Sequences Real Time Art Festival in Reykjavik, Iceland, and the Georgian Pavilion at the 2019 Venice Biennale with artist Anna K.E. She also serves on the editorial council of Museums Moving Forward (MMF), an intergenerational, cross-institutional coalition of art museum professionals committed to advancing equity across the museum field. Before joining the New Museum in 2011, Norton was a curatorial assistant at the Whitney Museum of American Art. She has contributed to and edited numerous publications and exhibition catalogues, and regularly lectures on contemporary art and curating. She holds an MA in Curatorial Studies from Columbia University, New York.

Norton will discuss her approach to curating through examples of select recent exhibitions and the 2021 New Museum Triennial, as well as plans for future programming at BAMPFA. Register here.

Claire L. Evans, Mindy Seu, and Yasaman Sheri

In this conversation, Claire L. Evans, a writer and musician who examines biocomputing's emerging frontiers, engages with Mindy Seu, author of the book Cyberfeminism Index and curator of the exhibition Wetware, along with Yasaman Sheri, Principal Investigator of the Synthetic Ecologies Lab at the Serpentine Gallery in London, who navigates the convergence of organic and artificial domains. The talk will expand the definition of "wetware" beyond the biological elements of technology to encompass both the computational capabilities and tangible aspects of biotechnologies today and in the future. The discussion will venture into the territories of slime molds, fungal architectures, and innovative biological substrates for AI, exploring interconnected networks and synthetic sensing. Who owns vital datasets and who has access to them are crucial concerns they will address. New insights into the integration of artificial and biological systems, paving the way for enriched ecosystems and cross-species communication are at the heart of their talk. The conversation will be moderated by Isin Onol, Director of Curatorial Research at MA Curatorial Practice, School of Visual Arts.

The Curatorial Roundtable, an international forum for curators and institutional leaders to discuss formative and current projects, is hosted by Steven Henry Madoff, Founding Chair of the MA Curatorial Practice at the School of Visual Arts in New York City.

Anthony Huberman (b. 1975, Switzerland) is a curator and writer based in New York. He currently is the Artistic Director of Giorno Poetry Systems (GPS), a nonprofit organization that supports artists, poets, and musicians. Previously, he was Director and Chief Curator of the Wattis Institute for Contemporary Arts in San Francisco, Founding Director of The Artist's Institute in New York, Curator at Palais de Tokyo in Paris, Curator of SculptureCenter in New York, and Director of Public Programs at MoMA PS1 in New York. He has also curated exhibitions at Raven Row in London, Kunst Werke in Berlin, Culturgest in Lisbon, and Secession in Vienna, and co-curated the 2014 Liverpool Biennial. Major group exhibitions include Drum Listens to Heart (2022), Mechanisms (2017), For the blind man in the dark room looking for the black cat that isn't there (2009), and Grey Flags (2006), Recent books include Cecilia Vicuña: Word Weapons (2023), What Happens Between the Knots? (2022), Where are the tiny revolts? (2021), Abbas to Yuki: Writing Alongside Exhibitions (2019), and Today We Should Be Thinking About (2016). Huberman has taught curatorial studies at Hunter College and the California College of the Arts, and is currently a visiting professor at the Center for Curatorial Studies at Bard College.

The Curatorial Roundtable, an international forum for curators and institutional leaders to discuss formative and current projects, is hosted by Steven Henry Madoff, Founding Chair of the MA Curatorial Practice at the School of Visual Arts in New York City.

iLiana Fokianaki will be discussing the curatorial for Festival Survival Kit 13, an important event in the Baltics for which she was the artistic director in 2022. The concept took its form of departure from the cultural imprint of the Soviet occupation of Latvia. The exhibition, titled The little bird must be caught, was inspired by the homonymous title of a poem by the Latvian poet Ojārs Vācietis, known and loved in the country not only for his literary talent but also for his courage in discussing the political conditions of his time. His work addressed the oppression of the Soviet regime, but he also spoke about global social issues, from his native Latvia. The poem written during the latter period of the Soviet Union in the late ‘70s during Brezhnev’s rule, warns of the dangers of letting the little bird free to sing, hatch its eggs, and continue being. It is an ironic allegory, in favor of free speech and against authoritarianism and repression. The poem reads urgently and is timely, considering a global reality in which free speech and self-determination are threatened by far-right nationalism and authoritarianism. The exhibition, originally conceived in October 2021, had a new mandate by the time it opened the following year, given the war launched against the Ukrainian people by what Fokianaki terms the “narcissistic authoritarian statism” of Putin’s rule.

The Curatorial Roundtable, an international forum for curators and institutional leaders to discuss formative and current projects, is hosted by Steven Henry Madoff, Founding Chair of the MA Curatorial Practice at the School of Visual Arts in New York City.

Ruth Estevez is a curator, writer, and set designer. She lives between NYC and Mexico City. Her curatorial approach is influenced by her interest in the historical relationship between poetry, literature, theater, and the visual arts. She likes to challenge the possibilities of the exhibition format pushing the boundaries of timing and materiality as well as the methodologies of production and presentation. She was recently artistic Director of Amant in Brooklyn (2020-2023), Senior Curator at The Rose Art Museum at Brandeis University (2018-2020), and Co-Curator of the 34th São Paulo Biennial (2021). She also organized for several years the performance festival “Idiorrhythmic” at MACBA in Barcelona (2017-2020), and she was the Gallery Director and Curator at REDCAT/Calarts (2012-2018). She co-founded LIGA-Space for Architecture and Spatial Practices in Mexico City (2010-). She holds an MA in Art History (Universidad Nacional Autonoma de Mexico, UNAM) and she is currently finishing her Ph.D. in Art, Education, and Research at the UCLM, Cuenca, focused on the aesthetic, social, and political shifts of collective creation in performance art and theater.

The Curatorial Roundtable, an international forum for curators and institutional leaders to discuss formative and current projects, is hosted by Steven Henry Madoff, Founding Chair of the MA Curatorial Practice at the School of Visual Arts in New York City.

Meskerem Assegued is a curator, anthropologist, writer, and co-founder of Zoma Museum with Elias Sime. She curated Giziawi #1, an art happening; Divine Light by David Hammons in Addis Ababa; and Green Flame, the visual art exhibition of the New Crowned Hope Festival by Peter Sellars in Vienna. She co-curated Eye of the Needle Eye of the Heart at Santa Monica Museum of Art with Sellars; Curvature of Events at the Staatliche Kunstsammlungen Dresden; Johannes Haile: With Different Eyes at Institut für Auslandsbeziehungen, Germany; and Vital Signs at Katzen Art Center, Washington DC. She recently co-designed and constructed the landscape and buildings at the Menilik’s Grand Palace and is currently constructing Zoma Village Entoto and restoring the Sof Umar Cave in Bale of South Eastern Ethiopia with Sime in Addis Ababa.

She has participated in various workshops and symposia, including those organized at MoMA, Tate Modern, Cimam in Spain and Yale Directors Forum. She was awarded France’s Chevalier dans l’ordre des Arts et des Lettres and has been a member of the selection committees for Dak’Art and the Venice Biennale African Pavilion.

Internationally celebrated artist Rafael Lozano-Hemmer uses digital technologies and machine learning to develop works of art that powerfully engage viewers in new ways to engage memories as individuals and collectively. His works point to the promise of intelligent machines while questioning what artificial memory production may also portend. In this talk, Lozano-Hemmer and curator Kathleen Forde will discuss the artist’s machine-mediated practice with a focus on his most recent immersive art environment, Atmospheric Memory, and its implications for surveillance, collective memory, and border politics.

The Artists Roundtable, an international forum for leading practitioners, is hosted by David A. Ross, faculty member of the MA Curatorial programs at the School of Visual Arts in New York City.

Ragnar Kjartansson engages multiple artistic mediums, creating video installations, performances, drawings, and paintings that draw upon myriad historical and cultural references. An underlying pathos and irony connect his works, with each deeply influenced by the comedy and tragedy of classical theater. Kjartasnsson blurs the distinctions between mediums, approaching his painting practice as performance, likening his films to paintings, and his performances to sculpture. Throughout, he conveys an interest in beauty and its banality and uses durational, repetitive performance as a form of exploration.

The Artists Roundtable, an international forum for leading practitioners, is hosted by David A. Ross, faculty member of the MA Curatorial programs at the School of Visual Arts in New York City.

Deeply rooted in conceptualism, the work of Tony Oursler conjures multimedia and immersive experiences that combine traditional art-making tools with new technologies. He is known for his work with moving images, installation, and projection, drawing inspiration from telecommunications, narrative evolution, conspiracy, social media, facial recognition, mysticism, and environmental concerns. His works often take the form of a “palimpsest,” layering possible futures with the recent past, while focusing on present day issues. In recent years, Oursler has used his extensive archive in conjunction with installations to blur the boundaries between art, fact, and belief systems.

Register here.

The Artists Roundtable, an international forum for leading practitioners, is hosted by David A. Ross, faculty member of the MA Curatorial programs at the School of Visual Arts in New York City.

Marilyn Minter's work has been the subject of numerous solo exhibitions and has been included in group exhibitions in museums all over the world. In 2006, she was included in the Whitney Biennial and installed several billboards in the Chelsea neighborhood of New York City in collaboration with Creative Time. Her video Green Pink Caviar was exhibited in the lobby of MoMA from 2010-2011 and was also shown on digital billboards on Sunset Boulevard in Los Angeles and on the Creative Time MTV billboard in Times Square. In 2013, Minter was featured in Riotous Baroque, an exhibition that originated at the Kunsthaus Zürich and traveled to the Guggenheim Bilbao. In 2015, Minter’s retrospective Pretty/Dirty opened at the Contemporary Arts Museum in Houston, then traveled to the Museum of Contemporary Art, Denver; the Orange County Museum of Art; and the Brooklyn Museum.

The Artists Roundtable, an international forum for leading practitioners, is hosted by David A. Ross, faculty member of the MA Curatorial programs at the School of Visual Arts in New York City.

Visually-striking and intricate, Chie Fueki’s paintings picture contemporary life in spectacular motion. Created through a complex system of painting, drawing, cutting, and collaging onto wood panels, her practice is centered around the depiction of figures, symbols, and abstract spaces using multi-layered ornamental surfaces and fields of color. Drawing on her experience as a Japanese-born artist growing up in Brazil and later practicing in the United States, Fueki’s work embraces the visual language of these three distinct cultures. As Fueki explains: “I consider myself a mixed-language painter with interest in Eastern and Western perspectival systems, architectural graphics, pop animation, pre-Renaissance European painting, and exuberant color.” Fueki earned her MFA at Yale University and her BFA at The Ringling College of Art and Design.

Register here.

The Artists Roundtable, an international forum for leading practitioners, is hosted by David A. Ross, faculty member of the MA Curatorial programs at the School of Visual Arts in New York City.

Ahmet Ögüt, born in 1981 in Silvan, Diyarbakır, Turkey, lives and works in Amsterdam, Istanbul, and Berlin. A renowned conceptual and activist artist, he initiated The Silent University in 2012, which describes itself as a “solidarity-based knowledge-exchange platform by displaced people and forced migrants” and has taken place in several European cities. He has had more than 40 solo exhibitions around the world and participated in more than 150 group exhibitions over the last 20 years. His work is in the permanent collections of the Metropolitan Museum of Art, the Stedelijk Museum, the Van Abbemuseum, the Frans Hals Museum, the Kiasma Museum of Contemporary Art, Kadist, and the Museum Goetz in Munich, among many others. Ögüt received his BA from Hacettepe University in Ankara, his MA from Yildiz Teknik University in Istanbul, and spent two years at the Rijksakademie van Beeldende Kunsten in Amsterdam.

Register here.

The Artists Roundtable, an international forum for leading practitioners, is hosted by David A. Ross, faculty member of the MA Curatorial programs at the School of Visual Arts in New York City.

DeDeaux has merged art with new technologies for decades to broaden definitions of art and audience. Early works from the 1970s such as CB Radio Booths harnessed the mobility and fluidity of language and location — utilizing mass communication media as the medium itself to bring art into the streets, connecting underserved communities to the currents of cultural discourse. Mid-career works offered pioneering immersive, synchronized media environments and video sculptures — including Soul Shadows, Women Eating, Almost Touching You, and The Face of God, In Search of - a six channel 360 degree environment that premiered at the 1996 Olympics. In 2023 she was the subject of a major retrospective at the New Orleans Museum of Art.

If AI mimics human thinking, then what does it tell us about us as much as what it tells us about intelligent machines? In this panel, renowned Italian philosopher and author Franco “Bifo” Berardi and Noam Segal, LG Electronics Associate Curator at the Solomon R. Guggenheim Museum, discuss with Steven Henry Madoff, chair of the MA Curatorial Practice program at the School of Visual Arts, what the ramifications of AI as a metaphor are for humans and the future of humanity.

The Artists Roundtable, an international forum for leading practitioners, is hosted by David A. Ross, faculty member of the MA Curatorial programs at the School of Visual Arts in New York City.

Nery Gabriel Lemus was born in Los Angeles, in 1977. The subjects in his work range from issues of stereotype and immigration to problems in society that can lead to the failure of families, such as poverty, abuse and neglect. He has done a great deal of work with incarcerated youth and with recently arrived immigrants. Lemus received his BFA at Art Center College of Design in Pasadena, California (2007) and his MFA at the California Institute of the Arts in Valencia, California (2009). Lemus also attended the Skowhegan School of Painting and Sculpture in Maine (2008).