On Tuesday, September 24, at 3 PM (EST), our Coffee Gathering featured Meredith Lynn, Assistant Curator at Florida State University, and Claire L. Kovacs, Curator of Binghamton University Art Museum. To better understand the range of job descriptions and promotional review criteria that apply to those who do curatorial work at academic museums or galleries, Lynn and Kovacs created a survey to gather information from their colleagues in academic museums and galleries. They presented their findings at AAMG in 2019 and again last week in the Coffee Gathering.
Meredith Lynn is an artist, curator, and educator based in Tallahassee, Florida. In her art practice, she frequently explores the historical, political, and social issues surrounding land management and ownership. Her curatorial specialty is contemporary art, with a particular focus in interactive and new media art. Her work has been supported by the National Endowment for the Arts, the Indiana Arts Commission, the Minnesota State Arts Board, Northern Lights, and the Florida Department of Cultural Affairs and most recently shown at the Morris Graves Museum of Art in Arcata, California and the Wiregrass Museum in Dothan, Alabama. She is the curator of the Museum of Fine Arts at Florida State University where she also teaches in the Department of Art.
Claire L. Kovacs is the Curator of Collections and Exhibitions at Binghamton University. She obtained her Ph.D. from the University of Iowa and her master’s and bachelor’s degrees from Case Western Reserve University – all in art history. She has curated exhibitions at the Figge Art Museum, Coe College, Krasl Art Center, DePaul University, and at Augustana College, where she was (until recently) the Director of the Augustana Teaching Museum of Art. Her strategies for curatorial work and programming emphasize the ways that academic museums explore contemporary issues, foster interdisciplinary inquiry, create space for a multiplicity of voices and perspectives, and function as a site of dynamic community engagement. She underscores intersectional equity, diversity, accessibility, and inclusion in her curatorial work. Her research practice grapples with ways that art historical research can support ‘The Common Good’ (to borrow a phrase from the NEH), using curatorial practice and writing as a mechanism by which to amplify under-told stories.
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CAA Resources Discussed