Elisabeth Agro, Nancy M. McNeil Curator of Modern and Contemporary Craft and Decorative Arts, Philadelphia Museum of Art.
Mary Ann Caws, Distinguished Professor Emerita in Comparative Literature, English, and French, CUNY Graduate Center, literary critic, and art historian whose most recent book is Symbolism, Dada, Surrealisms: Selected Writing of Mary Ann Caws (2024).
Robert Cozzolino, independent curator, art historian, and critic based in Minneapolis. He curates collaboratively, in partnership with artists, colleagues, and broad communities. “Starting where you are” is critical to his practice. He is drawn to artists who make work about the full range of human experience, especially those who aspire to visually express the intangible, states of consciousness, and a full range of emotions. Although he has worked on topics from the 19th and 20th centuries, he regularly works with contemporary artists in examining history. He considers himself a curator of fluid time, not bound to labels imposed on the field. His numerous publications include Supernatural America: The Paranormal in American Art (2021), World War I and American Art (2016), Peter Blume: Nature and Metamorphosis (2014), and David Lynch: The Unified Field (2014).
Marie Difilippantonio, Director and archivist, Jean and Julien Levy Foundation, and co-author (with BG Warren) of Julien Levy: The Man, His Gallery, His Legacy (4 vols; 2023).
Erika Doss, Distinguished Chair in the Edith O’Donnell Institute of Art History at the University of Texas at Dallas. Her multiple books include Benton, Pollock, and the Politics of Modernism: From Regionalism to Abstract Expressionism (1991), Spirit Poles and Flying Pigs: Public Art and Cultural Democracy (1995), Looking at Life Magazine (ed., 2001), Memorial Mania: Public Feeling in America (2010), American Art of the 20th – 21st Centuries (2017), and Spiritual Moderns: Twentieth-Century American Artists and Religion (2023).
Jonathan Eburne, Professor of Comparative Literature, English, and French and Francophone Studies at The Pennsylvania State University.
Jacqueline Francis, Dean of Humanities and Sciences and professor, History of Art and Visual Culture, California College of the Arts. She curated the exhibition “Sargent Claude Johnson” and contributed to and edited the accompanying publication (2024). She is, as well, the author of Making Race: Modernism and “Racial Art” in America (2012) and co-editor of Romare Bearden: American Modernists (2011) and Lorraine O’Grady: Is Now the Time for Joyous Rage? (2023).
Tracy Gill, co-owner of Gill & Lagodich Fine Period Frames & Restoration, New York City which provides custom framing services and curatorial expertise to museums and private collectors; for over 25 years she has collected, studied, restored, sold, and curated period frames for exhibitions and has lectured and conducted period frame clinics for institutional and private groups.
Stephen Hannock, American painter known for his large-scale, imaginary landscapes which often incorporate text inscriptions and are characterized by his unique “luminosity” created with a signature technique incorporating layer upon layer of sandpaper-polished, often-phosphorescent paint.
Eugene Hecht, leading collector of the pottery of George Ohr and lead author of the definitive monograph of the potter’s work, George Ohr: The Greatest Art Potter on Earth (2013).
Stephanie Temma Hier, Canadian artist, based in New York, whose work merges oil painting and ceramic sculpture through the use of unconventional, often elaborate framing. Her paintings—meticulously rendered scenes drawn from vintage advertisements, stock photography, and personal snapshots—are set within sculptural ceramic frames that echo, disrupt, or complicate the imagery they contain. By blurring the boundaries between painting and sculpture, Hier constructs strange and often humorous worlds that probe themes of consumption, memory, and decay. She has had recent solo exhibitions at Massimo de Carlo, Paris; Gallery Vacancy, Shanghai; Bradley Ertaskiran, Montreal; and Nino Mier Gallery, Brussels and Los Angeles. Her work has been shown in group exhibitions at institutions and galleries across New York, Los Angeles, Paris, Tokyo, and far beyond. It is held in museum collections throughout the United States, China, and Europe, and has been featured in Vogue France, Art in America, Artnet, S Magazine, Artforum, and Galerie Magazine, among others. Hier has participated in residencies at Ceramica Suro, Storm King Art Center, The Arctic Circle Residency, and Hospitalfield, and is the recipient of grants from the Canada Council for the Arts and the Elizabeth Greenshields Foundation.
Dakota Hoska, Curator of Native American Art at the National Gallery. Previously, she was Associate Curator, Native Arts, Denver Art Museum. Prior to joining the Denver Art Museum, she worked as a curatorial research assistant in the Arts of Africa and the Americas department at the Minneapolis Institute of Art (Mia). She also co-curated two Native arts-focused exhibitions at Mia, “Brilliant” and “Horse Nation.” She received her BFA in Drawing and Painting from the Minneapolis College of Art and Design and her MA in Art History, with a focus on Native American Art History, from the University of St. Thomas. She is a citizen of the Oglála Lakȟóta Nation from Pine Ridge, Wounded Knee.
Katie Jentleson, Senior Curator of American Art and Merrie and Dan Boone Curator of Folk and Self-Taught Art at the High Museum of Art, Atlanta. She is the curator of an upcoming exhibition about Minnie Evans.
Valerie Ann Leeds, independent scholar and curator specializing in the work of Robert Henri and his circle and has published and lectured widely on a broad array of subjects in American art. She has organized more than 40 exhibitions and served as guest curator for museums and galleries around the country. Most recently, she contributed to The Sweet Life: Julius LeBlanc Stewart and Painting the Belle Epoque (2024, ed. JW Tottis).
Larry List, New York-based writer and independent curator. He has organized exhibitions and written about Dada, Surrealism, Modern and contemporary art for The Noguchi Museum, The Menil Collection, The Tate Modern, The Andy Warhol Museum, Reykjavik Art Museum, DOX Center for Art, Prague, and others. His exhibitions include “The Imagery of Chess Revisited”; “The Art of Chess; Man Ray & Sherrie Levine”; “John Cage and Glenn Kaino: Pieces and Performances,” and “SKINTRADE.” List is currently completing Permanent Attraction: Man Ray & Chess, the first book to comprehensively survey the artist’s chess-related work in all media and to be published by Hirmer Verlag in late 2024 or 2025.
John P. Murphy, Philip and Lynn Straus Curator of Prints and Drawings at The Frances Lehman Loeb Art Center, Vassar College. Author of New Deal Art: Culture and Crisis in the Great Depression (forthcoming, 2025), he was co-curator of the exhibition “The Left Front: Radical Art in the ‘Red Decade’, 1929 – 1940” at the Mary and Leigh Block Museum, Northwestern University. He is also a leading scholar on African American artist Charles White.
Jennifer Samet, New York City-based art historian, curator, and writer. She is a faculty member at The New York Studio School and Senior Director, Eric Firestone Gallery.
Kathleen Skolnik, adjunct faculty member, Department of Art, Roosevelt University and co-author of The Art Deco Murals of Hildreth Meière (2014). She was a contributor to Art Deco Chicago: The Making of Modern American Culture (2017) and is a member of the Advisory Board of the Art Deco Society of New York and of the board of directors, International Hildreth Meière Association.
Suzanne Smeaton, pioneer in the study and scholarship of America period frames and advisor to public and private clients. She has conducted frame surveys of public, private, and corporate art collections, lectured to museum groups throughout the United States, and curated and co-curated frame exhibitions at museums including The Metropolitan Museum of Art and The Columbus Museum of Art. Among the publications in which her work has appeared are The Gilded Edge, Life’s Pleasures: The Ashcan Artists’ Brush With Leisure 1895 – 1925 (ed. JW Tottis, 2007), Auspicious Vision: Edwin Wales Root and American Modernism (with L Koenigsberg). For some 27 years, she was employed at the noted frame gallery of Eli Wilner & Company in New York City. She is a member of the board of directors, Appraiser’s Association of America.
Jennifer Thompson, The Gloria and Jack Drosdick Curator of European Painting and Sculpture and Curator of the John G. Johnson Collection, Philadelphia Museum of Art.
James W. Tottis, museum consultant and former Curator of American Art at the Detroit Institute of Arts. He was contributor to and editor of The Sweet Life: Julius LeBlanc Stewart and Painting the Belle Epoque (2024).
Stephanie Sparling Williams, Andrew W. Mellon Curator of American Art Brooklyn Museum.
