Curator of Modern and Contemporary Art and Phyllis C. Wattis MATRIX Curator Apsara DiQuinzio joined BAMPFA in the fall of 2012, and since then has organized dozens of exhibitions, including Charles Howard: A Margin of Chaos, Color Shift; Ballet of Heads: The Figure in the Collection, and MATRIX exhibitions with Nicole Eisenman, Paz Errázuriz, Anna Maria Maiolino, Geta Brătescu, John Zurier, Eric Baudelaire, Tarek Atoui, and many others. Before coming to BAMPFA, she was assistant curator of painting and sculpture at SFMOMA, where she organized solo exhibitions with Trisha Donnelly, Vincent Fecteau, R.H. Quaytman, and Paul Sietsema, as well as the major group exhibitions Six Lines of Flight: Shifting Geographies in Contemporary Art and The Air We Breathe: Artists and Poets Reflect on Marriage Equality. Prior to SFMOMA, DiQuinzio worked at the Whitney Museum of American Art, where she co-organized the 2004 Whitney Biennial, among numerous other exhibitions. She has contributed to journals such as Artforum, Mousse, Cura, and The Exhibitionist, in addition to writing for many exhibition catalogs.
Film Curator Kathy Geritz focuses on international documentary, avant-garde, and independent film. In 2010, with Steve Anker and Steve Seid, Geritz edited the major book Radical Light: Alternative Film and Video in the San Francisco Bay Area, 1945–2000 and organized the companion film series, which toured nationally. Geritz was the 2015 International Curator in Residence at the new Len Lye Centre in New Zealand; in 2013 she gave special presentations at the Oberhausen International Short Film Festival and the Ambulante Film Festival, and in 2012 she guest curated programs for the Ann Arbor Film Festival and The Brakhage Center Symposium. Geritz is a member of the Flaherty Film Seminar’s programming committee and teaches a course on film curating in the Department of Film and Media at UC Berkeley.
Prior to coming to BAMPFA in 2016, MacKay served as the programmer and interim artistic director of The Images Festival in Toronto, one of North America’s largest festivals of alternative cinema and media art. MacKay’s programming activities have also included positions as guest curator at the Ryerson Image Centre; guest programmer for TIFF Cinematheque; programming associate for Wavelengths, Toronto International Film Festival; and curator of installations for The 8Fest. She cofounded Early Monthly Segments, a screening series that presents historical and contemporary experimental works, and has served as the chair of the Board of Directors of the Liaison of Independent Filmmakers of Toronto (LIFT). Her wide-ranging areas of interest span historical and contemporary periods with an emphasis on independent film.
Since her appointment as Senior Film Curator in 2005, Susan Oxtoby has organized several major film series for BAMPFA, including retrospectives of Michelangelo Antonioni, Robert Beavers, Ingmar Bergman, Jacques Demy, Rainer Werner Fassbinder, Howard Hawks, Akira Kurosawa, Pier Paolo Pasolini, Satyajit Ray, and Agnès Varda, among others. In 2014, Oxtoby co-curated Discovering Georgian Cinema, the largest retrospective of Georgian film ever mounted in North America. Prior to her arrival at BAMPFA, Oxtoby was director of programming at Cinematheque Ontario, the year-round public screening division of the Toronto International Film Festival Group (TIFFG). In 2005 and again in 2010, she was appointed to five-year terms on the National Film Preservation Board, which advises the Library of Congress on films to be named to the National Registry. From 2001 to 2005, she served as a member of the Executive Committee of the International Federation of Film Archives (FIAF). Oxtoby has directed two independent films, All Flesh Is Grass (1988) and January 15, 1991: Gulf War Diary (1992). In 2015 she was honored with a Chevalier in the Order of Arts and Letters by the French Ministry of Culture and Communication for her help furthering the arts in France and throughout the world, and a Medal of Honor by the Democratic Republic of Georgia.
Director Lawrence Rinder has held positions at the Museum of Modern Art, Walker Art Center, and the Whitney Museum of American Art, where he was chief curator of the 2002 Whitney Biennial. Among the exhibitions he has organized are In a Different Light (with Nayland Blake), The American Effect: Global Perspectives on the United States, 1990–2003, Tim Hawkinson, Galaxy: A Hundred or So Stars Visible to the Naked Eye, Create (with Matthew Higgs), Barry McGee (with Dena Beard),The Possible (with David Wilson), Architecture of Life, and Way Bay. He was the founding director of the Wattis Institute for Contemporary Arts at California College of the Arts, San Francisco, where he also served as dean of graduate studies. His writing on art has appeared in nest, Artforum, The Village Voice, Fillip, Atlantica, and Flash Art, among others. Art Life, a collection of his essays, was published by Gregory R. Miller in 2005.
Julia White has organized exhibitions on a variety of areas in Asian art including Chinese historical painting, Neolithic ceramics, and early gold jewelry, as well as Japanese woodblock prints and paintings and esoteric Buddhist art from Japan and the Himalayan region. Recent projects at BAMPFA include Beauty Revealed: Images of Women in Qing Dynasty Chinese Painting, organized with James Cahill; Flowers of the Four Seasons: Ten Centuries of Art from the Clark Center for Japanese Art and Culture; and Taking Refuge: Buddhist Art from the Land of White Clouds. White is currently researching the work of Chinese painter Chen Hongshou (1599–1652) in preparation for a major loan exhibition in 2017. Prior to coming to BAMPFA in 2006, White was associate curator of Asian art at the Denver Art Museum and curator of Asian art at the Honolulu Academy of Arts. She earned her BA in China regional studies from the University of Washington and her MA in art history from the University of California, Berkeley. Her graduate studies included language training at Taiwan National Normal University in Taipei and graduate research at Beijing University.
Guest curator Jacquelynn Baas served as BAMPFA’s director from 1988 to 1999 and as interim director from 2007 to 2008. She has organized over thirty exhibitions, including The Independent Group: Postwar Britain and the Aesthetics of Plenty, Fluxus and the Essential Questions of Life (voted Best Show in a University Gallery by the International Association of Art Critics), and Berkeley Eye: Perspectives on the Collection (2016–17). She was founding director of the Hood Museum of Art at Dartmouth College. In 2000 Baas cofounded the arts consortium Awake: Art, Buddhism, and the Dimensions of Consciousness, which over the course of its five-year existence generated some fifty exhibitions, educational programs, artist residencies, and two books: Buddha Mind in Contemporary Art and Smile of the Buddha: Eastern Philosophy and Western Art from Monet to Today.
Curator Emerita Lucinda Barnes joined the BAMPFA curatorial staff in 2001, and served as chief curator and director of programs and collections from 2004 to 2016. At BAMPFA Barnes has curated and co-curated more than forty exhibitions, including Hans Hofmann: The Nature of Abstraction (2019), Creation in Form and Color: Hans Hofmann (2016, for the Kunsthalle Bielefeld, Germany), Rudolf de Crignis / MATRIX 245 (2013), Indeterminate Stillness: Looking at Whistler (2010), Human/Nature: Artists Respond to a Changing Planet (2009), and Measure of Time (2006). Barnes has also directed numerous major exhibitions that have traveled to Berkeley, such as Kurt Schwitters: Color and Collage (2011), James Castle: A Retrospective (2010), and Drawn by the Brush: Oil Sketches by Peter Paul Rubens (2005). Prior to BAMPFA, Barnes held senior curatorial posts at the Museum of Contemporary Art, Chicago, the Allen Memorial Art Museum at Oberlin College, and the Newport Harbor Art Museum (now the Orange County Museum of Art).
As senior curator at BAMPFA from 1999 through 2007, Constance Lewallen organized many major exhibitions that toured nationally and internationally, including The Dream of the Audience: Theresa Hak Kyung Cha (1951–1982); Everything Matters: Paul Kos, a Retrospective; Ant Farm, 1968–1978 (with Steve Seid). As adjunct curator at BAMPFA she has curated A Rose Has No Teeth: Bruce Nauman in the 1960s and State of Mind: New California Art circa 1970 (with Karen Moss), BAMPFA’s contribution (with the Orange County Museum of Art) to the Getty’s Pacific Standard Time project. She is currently working on an exhibition of Conceptual art from the BAMPFA Collection, Mind over Matter, to be presented in 2016.
Sandra S. Phillips is curator emerita of photography at the San Francisco Museum of Modern Art. She joined SFMOMA’s curatorial staff in 1987, and assumed the positions of senior curator in 1999 and curator emerita in 2017. She has organized numerous critically acclaimed exhibitions of modern and contemporary photography including Exposed: Voyeurism, Surveillance and the Camera Since 1870, Diane Arbus Revelations, Helen Levitt, Dorothea Lange: American Photographs, Daido Moriyama: Stray Dog, Crossing the Frontier: Photographs of the Developing West, and Police Pictures: The Photograph as Evidence. Phillips was previously curator at the Vassar College Art Museum, and has taught at various institutions including the State University of New York, New Paltz; Parsons School of Design; San Francisco State University; and the San Francisco Art Institute. She was a Resident at the American Academy in Rome and received a grant from The Japan Foundation in 2000.
Philippe Pirotte is director of the Staatliche Hochschule für Bildende Künste Städelschule and of Portikus in Frankfurt am Main, Germany, and curator of the 2016 edition of La Biennale de Montréal. As adjunct curator for BAMPFA, Pirotte organized the 2013 retrospective Yang Fudong: Estranged Paradise, Works 1993–2013 and the forthcoming Regarding the Pain of Others. In 1999 he cofounded the art center objectif exhibitions in Antwerp. From 2005 to 2011, he was director of Kunsthalle Bern. Since 2004, Pirotte has held the position of senior advisor of the Rijksakademie for Visual Arts in Amsterdam. He has organized solo exhibitions by artists such as Anne-Mie Van Kerckhoven, Owen Land, Oscar Tuazon, Jutta Koether, Allan Kaprow, and Corey McCorkle, and group shows, including the trilogy The Idea of Africa (re-invented) and Voids—A Retrospective of Empty Exhibitions.