Maura Reilly

Last updated
Maura Reilly
Academic background
Alma mater New York University
Thesis Le vice a la mode : Gustave Courbet and the vogue for lesbianism in the Second Empire  (2000)
Doctoral advisor Linda Nochlin

Maura Reilly is the director of the Zimmerli Art Museum at Rutgers University, and previously served as the first curator of the Elizabeth A. Sackler Center for Feminist Art. Reilly is also known for developing the concept of curatorial activism.

Contents

Biography

Reilly's interest in art began in college when she took a class in art history. [1] She earned a B.A. from Providence College in 1990. [2] She has an M.A. and a Ph.D. from the New York University Institute of Fine Arts in New York where worked under the supervision of Linda Nochlin. [3] [4] Reilly has held positions at Arizona State University, the American Federation of Arts, [3] as a professor and chair of art theory at the Queensland College of Art at the Griffith University in Brisbane, Australia, [5] and as executive director of the Linda Pace Foundation. [1] Reilly was the founding curator of the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum. [6] She then became the executive director and chief curator of the National Academy of Design. [7] In 2022 Reilly was named directory of the Zimmerli Art Museum at Rutgers University. [8]

Academic work

In 2007, Reilly's first exhibition at the Sackler center was Global Feminisms which brought together works from 87 women, [9] and presented the work of women in the context of society at large and not a sole focus on gender. [10] : 176  Josephine Withers described the show as placing the exhibit beyond "a priori ideas about what feminist art should look like". [11] : 86  Other exhibits that Reilly coordinated at the Sackler include a 2008 show on Ghada Amer. [12] [13]

In 2015, Reilly organized an all-women issue of ARTnews, in which she offered up statistics demonstrating systemic sexism in the art world. [14] [7] [15] Her work on curatorial activism, as expanded upon in her book Curatorial Activism: Towards an Ethics of Curating, [16] is cited by others as a means to teach the need for increased visibility of marginalized artists. [17] [18] [19] Curatorial Activism: Towards an Ethics of Curating was listed as one of the Top 10 Best Art Books of 2018 from the New York Times. [20]

In 2019 she wrote about the lack of representation of women artists in the reinstallation of the permanent collection at the Museum of Modern Art. [21] Exhibits curated by Reilly have been reviewed by arts media across the globe, including, most recently, her exhibition Wandamba yalungka/Winds change direction, which was reviewed in 2021 by The Brooklyn Rail. [22] Reilly and Linda Nochlin co-curated Global Feminisms: New Directions in Contemporary Art, which was the first show at the Brooklyn Museum's Elizabeth A. Sackler Center for Feminist Art; the show was reviewed by the popular press including The New Yorker magazine [23] and the New York Times. [24]

Selected publications

Awards

In 2005, Reilly won the Future Leadership Award from ArtTable, [29] and in 2006 she received the President Award from the Women's Caucus of Art. [30] Reilly was the guest judge for the 2012 churchie emerging art prize. [31]

Related Research Articles

<span class="mw-page-title-main">Linda Nochlin</span> American art historian

Linda Nochlin was an American art historian, Lila Acheson Wallace Professor Emerita of Modern Art at New York University Institute of Fine Arts, and writer. As a prominent feminist art historian, she became well known for her pioneering 1971 article "Why Have There Been No Great Women Artists?" published by ARTnews.

<span class="mw-page-title-main">Ghada Amer</span> Egyptian American artist (born 1963)

Ghada Amer is a contemporary artist, much of her work deals with issues of gender and sexuality. Her most notable body of work involves highly layered embroidered paintings of women's bodies referencing pornographic imagery.

Mary Frank is an English visual artist who works as a sculptor, painter, printmaker, draftswoman, and illustrator.

<i>The Brooklyn Rail</i> Journal of arts, culture and politics

The Brooklyn Rail is a publication and platform for the arts, culture, humanities, and politics. The Rail is based in Brooklyn, New York. It features in-depth critical essays, fiction, poetry, as well as interviews with artists, critics, and curators, and reviews of art, music, dance, film, books, and theater.

<span class="mw-page-title-main">Elizabeth A. Sackler Center for Feminist Art</span> Floor at the Brooklyn Museum in New York City

The Elizabeth A. Sackler Center for Feminist Art is located on the fourth floor of the Brooklyn Museum, New York City, United States. Since 2007 it has been the home of Judy Chicago's 1979 installation, The Dinner Party. The Center's namesake and founder, Elizabeth A. Sackler, is a philanthropist, art collector, and member of the Sackler family.

Feminist art criticism emerged in the 1970s from the wider feminist movement as the critical examination of both visual representations of women in art and art produced by women. It continues to be a major field of art criticism.

Cass Bird is an artist, photographer, and director who lives and works in New York City.

Oreet Ashery is an interdisciplinary artist based in London.

<span class="mw-page-title-main">Elizabeth Sackler</span> American historian and philanthropist

Elizabeth Ann Sackler is a public historian, arts activist, and the daughter of Arthur M. Sackler; as such, she is a member of the Sackler family. She is the founder of the American Indian Ritual Object Repatriation Foundation and the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum.

"Why Have There Been No Great Women Artists?" is a 1971 essay by American art historian Linda Nochlin. It is noted for its contribution to feminist art history and theory, and its examination of the institutional obstacles that prevent women from succeeding in the arts.

<span class="mw-page-title-main">Michèle Magema</span>

Michèle Magema is a Congolese-French video, performance, and photography artist. She currently resides in Nevers.

<span class="mw-page-title-main">Women Artists: 1550-1950</span>

The first international exhibition of art by female artists opened on December 21, 1976 at a time when the Feminist Art Movement was gaining in support and momentum. The show was curated by Professors Ann Sutherland Harris and Linda Nochlin and included eighty-three artists from twelve countries. The four-city exhibition was organized by the Los Angeles County Museum of Art and was on view there from December 21, 1976 through March 1977. The exhibition went on to show at the University Art Museum in Austin, Texas and then to the Carnegie Museum of Art in Pittsburgh, Pennsylvania, after which it completed its run at the Brooklyn Museum in New York. The Alcoa Foundation and the National Endowment for the Arts provided grants for the exhibition. The show became an important event in the history of art, introducing viewers, who were accustomed to a history of art dominated by men, to the important contributions of women artists. However, the show consisted almost entirely of white female artists. The show only included one artist of color, Frida Kahlo, and no black artists.

Sanghee Song is a South Korean artist. Sanghee Song was born in Seoul in 1970. She attended Ewha Womans University, earning her BFA in painting in 1992 and her MFA in 1994. Her works challenge the myths and repetitive narrativity of virtuous women. For her 2004 video The National Theater, Song reenacted the assassination of Yuk Young-soo, wife of South Korean president Park Chung-hee.

Global Feminisms was a feminist art exhibition that originally premiered at the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum, New York City, United States, in March 2007. The exhibition was co-curated by Maura Reilly and Linda Nochlin and consists of work by 88 women artists from 62 countries. Global Feminisms showcased art across many mediums, all trying to answer the question "what is feminist art?". The show was visually anchored by the installation of Judy Chicago's Dinner Party.

Massumeh Farhad is an Iranian-born American curator, art historian, and author. She is the Chief Curator and Curator of Islamic Art at the Freer Gallery of Art and Arthur M. Sackler Gallery at the Smithsonian Institution National Museum of Asian Art. She is known for her work with Persian 17th-century manuscripts.

Hiroko Okada also known as Okada Hiroko, is a Japanese contemporary artist, known for her provocative work that challenges societal standards around the construct of family, love, childbirth, and child-rearing. She works within the mediums of video art, photography, painting, installation, and performance.

Tejal Shah is an Indian contemporary visual artist and curator. She works within the mediums of video art, photography, performance, drawing, sound work, and spatial installations. Shah explores topics in her work including the LGBTQ+ community, sexuality, gender, disability, and the relationship between humans and nature. She lives in Mumbai.

Canan Senol, also known by the mononym Canan, is a Turkish multidisciplinary visual artist and activist, of Kurdish ethnicity. Her artwork addresses gender stereotypes, sexuality, and politics. She utilizes a variety of mediums in her practice including craft and digital techniques.

Elżbieta Jabłońska is a Polish contemporary visual artist, and professor. She has served as the Chair of Drawing and has taught art at Nicolaus Copernicus University in Toruń since 1996. Jablonska is known for photography, film, installation art, and performance art. Her artwork engages with Polish stereotypes and myths of women, mothers, and the Catholicism. She lives in Bydgoszcz in northern Poland, in a farming cooperative.

<span class="mw-page-title-main">Monika Larsen Dennis</span> Swedish sculptor (born 1963)

Monika Larsen Dennis is a Swedish contemporary visual artist and sculptor, known for her public art. She has also worked in performance art, photography, and film.

References

  1. 1 2 Fontenont, Rebecca (April 2014). "Maura Reilly". San Antonio Magazine. Vol. 9, no. 7. p. 112 – via EBSCOHost.
  2. ↑ "Notable Alumni". Art at Providence College. Retrieved 2023-10-09.
  3. 1 2 "Maura Reilly | School of Art". art.asu.edu. Archived from the original on January 2, 2022. Retrieved 2022-01-02.
  4. ↑ "About: Maura Reilly". Brookyln Museum. Brooklyn Museum. Retrieved 3 May 2021.
  5. ↑ Reilly, Maura (2011). Richard Bell : uz vs. them. Richard Bell, Djon Mundine, American Federation of Arts, Tufts University. Art Gallery. New York, NY: American Federation of Arts. ISBN   978-1-904832-95-9. OCLC   690904774.
  6. ↑ Ryzik, Melena (2015-08-05). "The Guerrilla Girls, After 3 Decades, Still Rattling Art World Cages". The New York Times. ISSN   0362-4331 . Retrieved 2022-01-02.
  7. 1 2 Sheets, Hilarie M. (2016-03-30). "Female Artists Are (Finally) Getting Their Turn". The New York Times. ISSN   0362-4331 . Retrieved 2023-10-09.
  8. ↑ Furnas, Dawn (February 3, 2022). "Rutgers UniversityNew Brunswick names new art museum director". NJBIZ; New Brunswick– via Proquest.
  9. ↑ Micucci, Dana (2007-04-19). "Feminist art gets place of pride in Brooklyn". The New York Times. ISSN   0362-4331 . Retrieved 2023-10-09.
  10. ↑ Heartney, Eleanor (2013). The reckoning : women artists of the new millennium. Internet Archive. Munich ; New York : Prestel. ISBN   978-3-7913-4759-2.
  11. ↑ Withers, Josephine (2017). "All Representation is Political". In Gurley, Gregory (ed.). Art and gender : an intersexual reader. Internet Archive. [San Diego, California] : Cognella Academic Publishing. ISBN   978-1-63487-971-2.
  12. ↑ Rosenberg, Karen (2008-06-20). "Veiled or Naked: Scrutinizing Women's Roles". The New York Times. ISSN   0362-4331 . Retrieved 2023-10-09.
  13. ↑ Rathe, Adam (2008). "Obsessed with 'Love'". The Brooklyn Paper. Vol. 31, no. 12. p. 11.
  14. ↑ Freeman, Nate (May 27, 2015). "A Sneak Peek Inside the ARTnews All-Women Issue". Vulture. Retrieved 2022-01-02.
  15. ↑ Force, Thessaly La (2018-02-12). "Couture for Artists, Dead and Alive". The New York Times. ISSN   0362-4331 . Retrieved 2023-10-09.
  16. ↑ Reilly, Maura (2018). Curatorial activism : towards an ethics of curating. Lucy R. Lippard. London: WW Norton. ISBN   978-0-500-23970-4. OCLC   992571921.
  17. ↑ Birnbaum, Paula (March 1, 2020). "Practicing What We Preach". American Alliance of Museums. Retrieved January 2, 2022.
  18. ↑ Mannarino, Amy (2018-03-01). "What the Data Tell Us About the Challenges Facing Female Artists of Color". Hyperallergic. Retrieved 2022-01-02.
  19. ↑ Rebello Magalhães, Ana Maria; Magalhães de Oliveira, Paula Rebello; Sarzi Ribeiro, Regilene Aparecida; Du Aguiar Leme, Iriane; Bazzo Francisco, Renata (2023–2024). "El activismo curatorial y las historias del arte y el vídeo: mundos caleidoscópicos". Cuadernos del Centro de Estudios de Diseño y Comunicación (in Spanish). 26 (191): 139–166 – via EBSCO.
  20. ↑ Smith, Roberta; Cotter, Holland; Farago, Jason (2018-12-13). "The Best Art Books of 2018". The New York Times. ISSN   0362-4331 . Retrieved 2022-01-02.
  21. ↑ Reilly, Maura (2019-10-31). "MoMA's Revisionism Is Piecemeal and Problem-Filled: Feminist Art Historian Maura Reilly on the Museum's Rehang". ARTnews.com. Retrieved 2022-01-02.
  22. ↑ Russo, Jillian (2021-09-01). "Wandamba yalungka.../Winds change direction..." The Brooklyn Rail. Retrieved 2022-01-02.
  23. ↑ Schjeldahl, Peter (2007-04-02). "Women's Work". The New Yorker. Retrieved 2022-01-02.
  24. ↑ Smith, Roberta (2007-03-23). "They Are Artists Who Are Women; Hear Them Roar". The New York Times. ISSN   0362-4331 . Retrieved 2022-01-02.
  25. ↑ Reviews of Global feminisms
  26. ↑ Review of Ghada Amer
  27. ↑ Reviews of Women artists
  28. ↑ Review of Curatorial activism
  29. ↑ "Previous NLA Awardees". ArtTable. Retrieved 2022-01-02.
  30. ↑ "Past Honorees | Women's Caucus for Art". 2018-08-02. Retrieved 2022-01-02.
  31. ↑ Browne, Sally (29 July 2012). "Art innovators". The Sunday Mail; Brisbane, Qld.. p. 38 – via Proquest.
This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.