Carrie Rebora Barratt
Carrie Rebora Barratt is Deputy Director for Collections and Administration at The Metropolitan Museum of Art, leading the Museum’s cross-functioning academic departments: curatorial, conservation, scientific research, library, education, digital, editorial, and imaging. In this capacity, she provides leadership and governance on permanent collection initiatives including building and managing the collection, scholarship and research, conservation and collection care. She oversees all manner of scholarly and educational projects and programs across the museum, as well as gallery renovations, installations, and permanent collection initiatives, including acquisitions, storage, and planning. She has been in this role since the fall of 2009.
Prior to her work in the Director’s Office, Carrie was an accomplished curator in the American Wing, rising to that position from her first association with the Met in 1984 as a summer intern. In subsequent years, she received a Chester Dale Fellowship in 1987 and an Andrew W. Mellon Fellowship in 1988 to write her doctoral dissertation. Carrie was appointed Assistant Curator, American Paintings and Sculpture, and Manager of the newly opened Henry R. Luce Center for the Study of American Art in 1989, and Associate Curator in 1994. She was promoted to curator in 2001. As manager of The Luce Center, the American Wing’s visible storage facility, she oversaw the display and digital cataloguing of over 10,000 works of American fine and decorative art on view in that facility. She has lectured and published extensively, with major exhibitions including American Stories: Paintings of Everyday Life 1765-1915 (2009-2010); Gilbert Stuart (2005); Queen Victoria and Thomas Sully (2001), and John Singleton Copley in America (1995-96), among others. Her collection catalogue of the Metropolitan’s American portrait miniatures was published in late 2009. Carrie led the team that renovated the galleries for American Paintings and Sculpture and oversaw the restoration and reframing of Washington Crossing the Delaware.
She has served on myriad museum committees, including the Grants Committee, various search committees for museum leadership, and the Website Steering Committee. She served as an officer of the Forum of Curators and Conservators several times; she chaired that organization 2003-04 and was the delegate to the Board of Trustees 2004-05. A graduate of the University of Illinois at Chicago, she received her M.A. from the University of California at Los Angeles and her Ph.D. from the Graduate Center of the City University of New York.
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 curated 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.
Kara Vander Weg
Kara Vander Weg is a Director at Gagosian Gallery New York. Her primary focus is the management of established artists and artists' estates, including the Estate of John Chamberlain, the Estate of Walter De Maria, Michael Heizer, Neil Jenney, Richard Serra, and Mark Tansey. She was a Director at the James Cohan Gallery in New York, and she worked in the curatorial department of the Solomon R. Guggenheim Museum, New York, from 1998-2003. She holds a B.A. in Art History from Northwestern University and an M.A. in Art History from Williams College.
Nicole Eisenman is a painter and sculptor living and working in Brooklyn, New York. She was recently included in the decennial “Skulptur Project Münster” in Münster, Germany (2017). Recent solo exhibitions include “Dark Light” at Secession, Vienna, Austria (2017); a mid-career retrospective, “Al-Ugh-Ories” at the New Museum, New York (2016); Anton Kern Gallery (2016) and her traveling survey exhibition, “Dear Nemesis, Nicole Eisenman 1993–2013” at The Museum of Contemporary Art San Diego (2015), The Institute of Contemporary Art, (Philadelphia, 2014), and the Contemporary Art Museum of St. Louis (2014).
Eisenman is a 2015 MacArthur Foundation fellow and winner of the 2013 Carnegie Prize. Her work is featured in the permanent collections of the Museum of Modern Art, New York; Kunsthalle Zürich, Switzerland; Museum of Contemporary Art, Los Angeles; Hammer Museum, Los Angeles; SF MOMA, San Francisco; Walker Art Center, Minneapolis; and the Whitney Museum of American Art, New York, among others.
Eric Fischl is an internationally acclaimed American painter and sculptor. His artwork is represented in many distinguished museums throughout the world as well as prestigious private and corporate collections, including The Metropolitan Museum of Art, The Whitney Museum of American Art, The Museum of Modem Art in New York City, The Museum of Contemporary Art in Los Angeles, St. Louis Art Museum, Louisiana Museum of Art in Denmark, Musée Beaubourg in Paris, The Paine Weber Collection, and many others. Fischl has collaborated with other artists and authors, including E.L. Doctorow, Allen Ginsberg, Jamaica Kincaid, Jerry Saltz and Frederic Tuten. His extraordinary achievements throughout his career have made him one of the most influential figurative painters of the late 20th and early 21st centuries.
Eric Fischl is a Fellow at both the American Academy of Arts and Letters and the American Academy of Arts and Science, and a Senior Critic and Board Member at the New York Academy of Art. He lives and works in Sag Harbor, NY with his wife, the painter April Gornik.
Amy Sherald (American b. Columbus, GA 1973, lives Baltimore) received her MFA in Painting from the Maryland Institute College of Art (2004), BA in Painting from Clark-Atlanta University (1997), and was a Spelman College International Artist-in-Residence in Portobelo, Panama (1997). She is a recipient of the Joan Mitchell Foundation Painting and Sculpture Grant (2014), a Pollock-Krasner Foundation Grant (2013), and was most recently awarded a grant in painting from Anonymous Was a Woman (2017). In 2016, Sherald was the first woman to win the Outwin Boochever Portrait Competition grand prize, for which her work will be added to the Smithsonian’s National Portrait Gallery Collection. It was also announced in fall of 2017 that she would be commissioned to paint the official portrait of former first lady Michelle Obama for the NPG, to be unveiled in 2018.
Sherald’s work has been included in notable group exhibitions at the Studio Museum in Harlem, New York (2017), the California African American Museum, Los Angeles (2017), the Speed Museum of Art, Louisville, KY (2017), and Nasher Museum of Art at Duke University, Durham, NC (2016); and moniquemeloche, Chicago (2015). Her first major solo museum exhibition will occur in spring of 2018 at the Contemporary Art Museum, St. Louis. Sherald’s artist residencies include Tong Xion Art Center, Beijing, China (2008), Odd Nerdrum Private Study, Larvik, Norway (2005), Creative Art Alliance, Baltimore (2016), and most recently, the Joan Mitchell Residency, New Orleans (2017). Sherald’s work is in notable public collections, including the National Museum of Women in the Arts, Washington, D.C.; the Smithsonian’s National Museum of African American History and Culture, Washington, D.C.; Nasher Museum of Art, Durham, N.C.; Kemper Museum of Contemporary Art, Kansas City, MO; Columbus Museum of Art, Columbus, GA; the United States Embassy Dakar, Senegal;and the Smithsonian’s National Portrait Gallery, Washington, D.C. Sherald is represented by Monique Meloche Gallery, Chicago.