ART AND INNOVATION/PHILADELPHIA (WHARTON'S GLOBAL CEO PROGRAM)

There are new realities in business today. Luckily, they can be unpacked though art. First question: Why? Easy. Temples to art house the victors: those that underpinned their competitors; those that held more brand agency and twitter followers; those that swam faster, and won coveted spots in our shared histories. In a word, the innovators. Businesses that don't innovate become stagnant before the inevitable slow crawl. Leaders that give innovators fields to plough win. Second question: Are we all artists when we create? Yes. Time for a boot-camp to get us thinking creatively, to dare to explore the avant-garde parameters of our systems. 

Global CEO Program: A Transformational Journey, The Avery Institute of Executive Education, The Wharton School, University of Pennsylvania; Philadelphia Museum of Art, Philadelphia, PA

November 2020

TRAVEL ACADEMY/ST. PETERSBURG, PARIS, LONDON, NEW YORK (ART CAPITALS OF THE WORLD)

Traveling lecture program for Road Scholar highlighting four art capitals.

 

On-site lectures "The Russian Avant Garde” and “Modernist Masterworks at the Hermitage,” St. Petersburg; “Never Turning Back: Origins of Parisian Modernism” and “Modern Master: Pablo Picasso,” Paris; “British Modernism,” London.


Gallery presentations at The Metropolitan Museum, Museum of Modern Art, Whitney Museum of American Art, New York.

Five-part lecture series Art Afloat 3 (“Origins of American Modernism: The Armory Show and 291 Gallery,” “Skyscraper City: Ashcan and Precisionism,” “Ups and Downs: Harlem Renaissance and American Depression-Era Art,” “The Midas Touch: Art and Consumerism,” and “Who are We? Global Contemporary Art”) aboard the RMS Queen Mary 2. 

Guided gallery conversations at Erarta Museum of Contemporary Art, State Hermitage Museum, St. Petersburg; Musée d'Orsay, Centre Pompidou, Louvre, Paris; Tate Britain/Modern, National Gallery, Courtauld Gallery, London.

St. Petersburg, Paris, London, New York, and on the iconic transatlantic crossing of the QM2

2021: September/October; October (postponed)

2020: September/October (postponed)

TRAVEL ACADEMY/SOUTH PACIFIC (WORLD ACADEMY)

Traveling lecture program through the South Pacific, part of Road Scholar World Academy. 

Fourteen-part lecture series Art Afloat 2 (“Sailors’ Delight: Art and the Ocean,” “Cross-Cultural Currents: Parallel Aesthetics in Oceanic and Modern Art,” “Western Dialogues in Pacific Art Today,” “Is “Exotic” Ok? Picasso’s Primitivising Impulses,” “Gauguin’s Tahitian Paradise,” “Beyond Exotic Masks/Nudes: The Harlem Renaissance,” “Chasing Sunsets: Art, Nature, Sublime,” “Away from Shore: Pollock, Jung, and Transcending Cultural Divides,” “I’ll Follow the Sun: Art and Light,” “The Cost of Being Here: Warhol and Commoditizing Identities,” “Impressionism and Japonisme,” “Tourist Trade: Art, Globalism, and Geo-Politics,” “American Modernism,” “Headed Toward Africa: Art and the African Diaspora”) aboard the MS Amsterdam.

 

San Antonio, Chile; Easter Island; Pitcairn; Papeete, French Polynesia; Rarotonga, Cook Islands; Nuku Alofa, Tonga; Auckland, New Zealand

 

February/March 2020

 

ART AND LEADERSHIP/SEATTLE (USER EXPERIENCE, LEARNING & SHIFTING PERCEPTIONS AT SEATTLE ART MUSEUM)

Three straightforward questions. Does art help us learn better? Does participating in the process of experiencing art in a more interactive way help us to get more out of it? Do discoveries with art help us outside the museum, even at work? All data points point to a resounding yes, to all three. Ignoring these realities leaves too much on the table. It’s time to keep pace with an ever-changing world and workplace and come to terms with how to balance top-down with participatory methods. Art tackles these issues head-on and shows us how to become proficient in new ways of thinking better suited to these changing winds. It helps raise awareness and engage cultural change, necessary goals for everyone in the org chart, not just for designated leaders. Time to learn how. 

Seattle Art Museum, Seattle, WA; Global Corporate Learning & Talent Summit, Leadership, Development & Organizational Development Council, Hosted by Microsoft, Bellevue, WA

February 2020

ART AND LEADERSHIP/NEW YORK (ART LEADS: LEADERSHIP DEVELOPMENT COUNCIL AT THE MET)

Discussion exploring intersections between art and leadership. What can ancient Greek sculptures teach us about our organizational models at work, today? What does Monet say to us about perception, projection, and how not to get trapped in reading data through our own lenses? And, sit on the Met's floor for the first time. Or, do it again. You probably haven't for awhile. 

Leadership Development Council, Hosted by The Conference Board at The Metropolitan Museum of Art, New York, NY

January 2020

ART AND INNOVATION/PHILADELPHIA (WHARTON'S GLOBAL CEO PROGRAM)

There are new realities in business today. Luckily, they can be unpacked though art. First question: Why? Easy. Temples to art house the victors: those that underpinned their competitors; those that held more brand agency and twitter followers; those that swam faster, and won coveted spots in our shared histories. In a word, the innovators. Businesses that don't innovate become stagnant before the inevitable slow crawl. Leaders that give innovators fields to plough win. Second question: Are we all artists when we create? Yes. Time for a boot-camp to get us thinking creatively, to dare to explore the avant-garde parameters of our systems. 

Global CEO Program: A Transformational Journey, The Avery Institute of Executive Education, The Wharton School, University of Pennsylvania; Philadelphia Museum of Art, Philadelphia, PA

November 2019

ART AND LEADERSHIP/SAN FRANCISCO (SHIFTING PERCEPTIONS AT SFMOMA FOR FRED LEADERSHIP)

A quiz: Do leaders need to embrace diversity and inclusion? Do they need reminders that perception is one's reality? Can nations and institutions lead with architecture? Should leaders care, like really care, about the outsiders they're leading? Will our leadership card-houses survive in the wind of shifting agencies, from top down to grass-roots? Say it with me: we want our leaders to respect women, right? Can we lead knowing that class is actually still a thing? Does the mass-media lead us? Can we tackle all of this with art as our guide? Yes. To all. 

FRED Forum 2019; San Francisco Museum of Modern Art, San Francisco, CA

November 2019

ART AND MUSEOLOGY/STANFORD (MAXIMIZING CONVERSATIONS WITH ART IN 21ST CEN MUSEUMS AT CANTOR)

Are we witnessing a transformation in art museums? Yes. Efforts globally are well underway to shift perceptions about what museums are and what they can become. No one wants impenetrable spaces for the elite. The new frontier is for museums to be inviting, participatory "third-spaces" for 21st century visitors. People like to take in museums at their own speeds and in their own way. Such changes have even shaped recent museum architecture, from the new Whitney to the impressive museums on Saadiyat Island. Strategic goals have changed. So, how should educators talk about art in gallery spaces today, at Stanford and beyond?

 

Let's unpack this further. Is it time to reexamine those thorny artists with household names? Do we miss things when we look at the same old chestnuts; and should we expect more of the same the older Monet gets? What role does spectatorship play in gallery-based pedagogies? Wait, what's spectatorship? One more. How are 21st century art museums, well, different?

 

Cantor Arts Center, Stanford University, Stanford, CA

October 2019

TRAVEL ACADEMY/LONDON, NEW YORK (TRANSATLANTIC ART ADVENTURE)

Traveling lecture program for Road Scholar tracing the major developments in Modern and Contemporary Art after 1863.

 

Six-part lecture series Art Afloat (“Looking Ahead: Forming Modernism in Late 19th Century France,” “Masters Arrive: Picasso and Matisse," "Visualizing Essences: Abstraction Arrives," "Crossing the Pond: The New York School Triumphs," "Consumer Culture Sets In: The Beat Generation and Pop," "Major Developments After 1970") aboard the RMS Queen Mary 2. 

Gallery presentations at The Metropolitan Museum of Art, Solomon R. Guggenheim Museum, New York, Whitney Museum of American Art, Museum of Modern Art, New York.

 

Guided gallery conversations at Tate Britain/Modern, National Portrait Gallery, National Gallery, Royal Academy of Arts, Courtauld Gallery, Victoria and Albert Museum.

New York, London, and on the iconic transatlantic crossing of the QM2

2020/2021 crossings canceled

2019: May; June; August

2018: June; October

2017: May; October

ART IN CONTEXT/PHILADELPHIA (BLURRED LINES: LINKING PAINTING, SCULPTURE, and ARCHITECTURE at THE BARNES

Lecture series workshop exploring the artists and architects ca. 1900 to the present whose work pushed the limits of the traditional categories of painting, sculpture, and architecture. How are paintings by Ellsworth Kelly and sculptures by Mark di Suvero grounded in architectural concerns? Did Mies van der Rohe make a distinction between pictorial and spatial issues? Is Frank Gehry a sculptor-architect? Trace the history of this line of inquiry, and ask key questions about what the future holds for medium specificity.

The Barnes Foundation, Philadelphia, PA

September 2019

ART IN CONTEXT/PHILADELPHIA (HOMEGROWNCONCERNS: AMERICAN MODERNISM ca. 1900-50 at THE BARNES)

Lecture series workshop highlighting American vanguard artists during the first half of the 20th century. Dialogues concerning the complexities of city-life, mass immigration, commercialism, shifting identity politics, and America’s role on the world’s stage dominated the period. This workshop explores key innovators and themes of one of the most prolific moments in our history, including Stieglitz’s advocacy for American modernism, Lawrence’s depictions of racial struggles during the Harlem Renaissance, and Hopper’s images of urban solitude.

The Barnes Foundation, Philadelphia, PA

June 2019

TRAVEL ACADEMY/ROME

Series of programs highlighting the astounding history of art in Rome, from antiquity to the present.

Private gallery talks at Vatican Museums; Galleria Borghese; Sistine Chapel; MAXXI National Museum of the 21st Century Arts; MACRO Via Nizza; National Gallery of Modern Art, Rome, Italy

April 2019

ART IN CONTEXT/PHILADELPHIA (SHE PERSISTED: PIONEERING WOMEN ARTISTS SINCE 1900 at THE BARNES)

Lecture series workshop highlighting the history of women in art since ca. 1900. In 1971, art historian Linda Nochlin’s classic essay “Why Have There Been No Great Women Artists?” reminded readers that women artists – and indeed women – throughout history have had to fight for a seat at the table. 21st century women around the globe continue to persevere. This workshop highlights key contributions in art by women since ca. 1900, from Georgia O’Keeffe and other classic painters to Marina Abramović and key trailblazing innovators from our own time.

The Barnes Foundation, Philadelphia, PA

March 2019

ART AND DISRUPTION/CHICAGO (UNITED'S FUTURE LEADERS PART 1 AT THE ART INSTITUTE)

Our perception of things determines how we understand everything, including what we do at work. Best place for this conversation? in Chicago, in front of Georges Seurat's Sunday Afternoon on La Grande Jatte (1884), where even our best cognitive processors create dissonance when faced with deceptively simple points of color. In a nearby gallery, a cantankerous disruptor solidified his place in art history by maturing the sketchy Impressionist stroke, which, by 1884, was so last decade. Paul Cézanne still wears a laurel wreath for this. To the victor. Standing on the shoulders of Monet and the other titans of the Parisian avant-garde, Cézanne forged into fresh fields. He created a product that wasn't there before. Such is the fate of important innovators and disruptors. 

RISE: United Airlines High Potential Program, The Art Institute of Chicago, Chicago, IL

January 2019

ART AND MEDICINE/PHILADELPHIA (21ST CEN HEALING PART 3 AT PENN)

The ever-increasing role of art as a vehicle to help train medical practitioners has been steadily gaining in prominence, a partnership that continually yields more and more compelling research and outcomes. This talk underscores the key potential advantages art offers those in the medical community, including sharpened visual acuity, empathy, and sensitivity to both the social constructs and power relationships endemic to artistic and medicinal practices. 

Arts in Medicine Initiative, Pre-Health Post-Baccalaureate Program, University of Pennsylvania, Philadelphia, PA

November 2018

ART IN CONTEXT/PHILADELPHIA (PICASSO AND HIS CONTEMPORARIES at THE BARNES)

Lecture series workshop highlighting the profound web of Picasso and his contemporaries. Picasso’s contribution to the history of art was immeasurable. More than a century after Cubism, we are still unpacking his extraordinary career. In this course, we will both trace key moments in Picasso’s oeuvre, and also highlight the impact on his work on his contemporaries. From the Salon Cubists, to Mondrian, Pollock, and so many others, we’ll explore the many complex facets of Picasso’s inestimable nexus.

The Barnes Foundation, Philadelphia, PA

November 2018

ART AND INNOVATION/PHILADELPHIA (PVH AT PMA)

There are new realities in business today. Luckily, they can be unpacked though art. First question: Why? Easy. Temples to art house the victors: those that underpinned their competitors; those that held more brand agency and twitter followers; those that swam faster, and won coveted spots in our shared histories. In a word, the innovators. Businesses that don't innovate become stagnant before the inevitable slow crawl. Leaders that give innovators fields to plough win. Second question: Are we all artists when we create? Yes. Time for a boot-camp to get us thinking creatively, to dare to explore the avant-garde parameters of our systems. 

PVH Corporation, New York; Philadelphia Museum of Art, Philadelphia, PA

November 2018

ART IN CONEXT/PHILADELPHIA (IMPRESSIONISM AND JAPONISME at THE BARNES)

Four-part lecture series workshop highlighting the paradigmatic influence of Japanese art on Impressionism. In the 1850s, trade between France and Japan resumed for the first time in nearly 250 years. The resulting syncretic impact of Japanese art and design on Impressionist art was extraordinary. Investigate how Monet, Whistler, Van Gogh, and others incorporated Japanese themes and imagery into their respective work.

The Barnes Foundation, Philadelphia, PA

April 2018

TRAVEL ACADEMY/PARIS

Series of programs highlighting the astounding history of art in Paris.

Private gallery talks at The Louvre; Versailles Palace; Musée d'Orsay; Centre Pompidou, Paris, France

March 2018

ART AND INNOVATION/PHILADELPHIA (WHARTON'S GLOBAL CEO PROGRAM)

There are new realities in business today. Luckily, they can be unpacked though art. First question: Why? Easy. Temples to art house the victors: those that underpinned their competitors; those that held more brand agency and twitter followers; those that swam faster, and won coveted spots in our shared histories. In a word, the innovators. Businesses that don't innovate become stagnant before the inevitable slow crawl. Leaders that give innovators fields to plough win. Second question: Are we all artists when we create? Yes. Time for a boot-camp to get us thinking creatively, to dare to explore the avant-garde parameters of our systems. 

Global CEO Program: A Transformational Journey, The Avery Institute of Executive Education, The Wharton School, University of Pennsylvania; Philadelphia Museum of Art, Philadelphia, PA

March 2018

ART IN CONTEXT/FORT MYERS (PAINTING ARCHITECTURE at FGCU)

This talk explores one of the major themes within modernist art, that of the blurred boundaries between painting and architecture. Matisse, Mondrian, Rothko, Pollock, and many other modern masters will be considered to investigate what happens when paintings and architectural space merge.

Salke Contemporary Art Study Group, The Renaissance Academy of Florida Gulf Coast University, Florida Gulf Coast University, Fort Myers, FL

 

January 2018

ART AND MEDICINE/PHILADELPHIA (21ST CEN HEALING PART2 AT PENN)

The ever-increasing role of art as a vehicle to help train medical practitioners has been steadily gaining in prominence, a partnership that continually yields more and more compelling research and outcomes. This talk underscores the key potential advantages art offers those in the medical community, including sharpened visual acuity, empathy, and sensitivity to both the social constructs and power relationships endemic to artistic and medicinal practices. 

Arts in Medicine Initiative, Pre-Health Post-Baccalaureate Program, University of Pennsylvania, Philadelphia, PA

November 2017

ART IN CONTEXT/PHILADELPHIA (SHATTERED CEILINGS: WOMEN AND ART)

Art Historian Linda Nochlin’s classic essay “Why Have Their Been No Great Women Artists?” (1971) raised the question regarding a patriarchal artistic canon. Nearly fifty years later, that same canon now includes an encyclopedic array of seminal female artists. What do Georgia O’Keeffe’s images of the American southwest reveal about her interest in transcendental and spiritual themes? How did Cindy Sherman’s photographs show us the limited number of roles for women in Hollywood and mass media? What do Lorna Simpson’s images of hair tell us about issues of identity? Indeed, there have been great women artists.

Cathedral Village, Philadelphia, PA

 

November 2017

ART AND INNOVATION/PHILADELPHIA (WHARTON'S GLOBAL CEO PROGRAM)

There are new realities in business today. Luckily, they can be unpacked though art. First question: Why? Easy. Temples to art house the victors: those that underpinned their competitors; those that held more brand agency and twitter followers; those that swam faster, and won coveted spots in our shared histories. In a word, the innovators. Businesses that don't innovate become stagnant before the inevitable slow crawl. Leaders that give innovators fields to plough win. Second question: Are we all artists when we create? Yes. Time for a boot-camp to get us thinking creatively, to dare to explore the avant-garde parameters of our systems. 

Global CEO Program: A Transformational Journey, The Avery Institute of Executive Education, The Wharton School, University of Pennsylvania; Philadelphia Museum of Art, Philadelphia, PA

March 2017

ART IN CONTEXT/PHILADELPHIA (COLORING ROOMS: MATISSE'S ARCHITECTURE)

From the beginning to the end of his career, and at all points between, Matisse imbued his pictorial imagery with architectural motifs, themes, and ultimately with space.

Cathedral Village, Philadelphia, PA

 

March 2017

ART IN CONTEXT/PHILADELPHIA (WHERE PAINTING AND WALLS MEET at THE BARNES)

Four-part lecture series workshop exploring the various links between pictorial imagery and architecture throughout the modernist period.

 

The Barnes Foundation, Philadelphia, PA

 

February 2017

ART AND INNOVATION/NEW YORK (CREATIVES TEAM AT CALVIN KLEIN)

As global consumers, we relate to objects and ideas that help us express our respective identities. In an era where, on the one hand, top-down product-placement seems outmoded, and, on the other, consumers are ever-more comfortable with making their own decisions, how we understand ourselves and each other is even more crucial to a healthy marketplace. Art about identities is ideally suited to this task.

Calvin Klein Executive Creative Team, New York, NY

 

December 2016

 

ART IN CONTEXT/PHILADELPHIA (ABSTRACTION AND TRANSCENDENCE at THE COS CLUB)

While some modernists raced to create the flattest canvases, others like Piet Mondrian and Yves Klein, among others, used their canvases to represent something metaphysical. Believing that they had visualized intangible essences or metaphysical sensations, this highly philosophical set of artists created works that, for them, represented a transcendence of objecthood. 

 

The Cosmopolitan Club, Philadelphia, PA

 

November 2016

ART AND INNOVATION/PHILADELPHIA (PVH, WHARTON, PMA)

Innovation is central to best business practices, as without ​creativity, institutions fall behind. This central reality is crucial to the historiography of the history of art, especially within the avant-garde. 

PVH Corporation; The Avery Institute of Executive Education, The Wharton School, University of Pennsylvania; Philadelphia Museum of Art, Philadelphia, PA

September 2016

ART IN CONTEXT/PHILADELPHIA (THE ART POLITIC at PMA)

Election years naturally galvanize political discussions and make discourse ubiquitous. An examination of geo-politics in art reminds us that this is indeed not a new phenomenon.

Philadelphia Museum of Art, Philadelphia, PA

September 2016

ART IN CONTEXT/REHOBOTH BEACH (DRAWN BY SAND: OCEANIC IMAGERY IN MODERN AND CONTEMPORARY ART)

The sea and sand have inspired artists since antiquity. 

Rehoboth Beach Historical Society and Museum, Rehoboth Beach, DE

 

August 2016

ART AND INNOVATION/NEW YORK (SUPPLY CHAIN at CALVIN KLEIN)

Understanding how the global supply chain operates requires a keen sensitivity to the anthropological, sociological, and geo-political concerns that govern the nexus of global commerce. Art reveals who we are across boarders and boundaries.

Calvin Klein Global Supply Chain, New York; and The Metropolitan Museum of Art, New York, NY

 

July 2016

 

ART AND COMMODITY/HONG KONG (MONET at CALVIN KLEIN HK)

Damien Hirst, Jeff Koons, and other kingpins of contemporary blue-chip avant-garde art, raise issues of commodity in their respective work. The art of our time is thus, in this way, an apt mirror for our global fetishization on the marketplace and consumerism. In art, as Claude Monet's career aptly illustrates, surviving at the helm of the vanguard requires constant vigilance, an eye on the future, and a recognition that molds must be broken. Businesses that understand this reality similarly thrive.

 

Lecture and discussion seminar at Calvin Klein Asia Pacific, Hong Kong; and gallery tour “Monet: Renegade to Household Name" at Claude Monet: The Spirit of Place, Hong Kong Heritage Museum, Hong Kong

 

July 2016

ART AND INNOVATION/PHILADELPHIA (WHARTON'S GLOBAL CEO PROGRAM)

There are new realities in business today. Luckily, they can be unpacked though art. First question: Why? Easy. Temples to art house the victors: those that underpinned their competitors; those that held more brand agency and twitter followers; those that swam faster, and won coveted spots in our shared histories. In a word, the innovators. Businesses that don't innovate become stagnant before the inevitable slow crawl. Leaders that give innovators fields to plough win. Second question: Are we all artists when we create? Yes. Time for a boot-camp to get us thinking creatively, to dare to explore the avant-garde parameters of our systems. 

Global CEO Program: A Transformational Journey, The Avery Institute of Executive Education, The Wharton School, University of Pennsylvania; Philadelphia Museum of Art, Philadelphia, PA

May 2016

ART IN CONTEXT/DELAWARE (ROTHKO'S ARCHITECTURE and RED)

Prologue on Mark Rothko's sense of outsiderness, for the Delaware production of Red by John Logan. 

 

Resident Ensemble Players, University of Delaware, Newark, DE

 

April 2016

ART IN CONTEXT/DELAWARE (ROTHKO'S SEAGRAM'S ROOMS at UNIV OF DELAWARE)

Mark Rothko's Seagram project underscores his desire, following Matisse, to merge pictorial imagery and architecture. He also had a second motive. Rothko hoped that his paintings would trigger his Seagram audience to experience the darkest "basic human emotions," and in the process theoretically become, in his estimation, more intimate, human, and finally rid of the modern man discourse (spiritual void) Nietzsche described.

 

Art History on the Steps, Department of Art History, University of Delaware, Newark, DE

 

April 2016

ART IN CONTEXT/PHILADELPHIA (PICASSO'S WARS at THE BARNES)

Four-part lecture series workshop interrogating Picasso's recurrent use of themes of aggression, death, and war. 

 

The Barnes Foundation, Philadelphia, PA

 

March and April 2016

ART AND MEDICINE/PHILADELPHIA (MED ED AT PENN)

Gallery sessions, lecture, and seminar workshop exploring key issues required for the 21st century physician: empathy, a keen sensitivity to identity markers, a sharp visual acuity, and an awareness that respites make better practitioners. 

 

Med Ed Master’s Program, Graduate School of Education, University of Pennsylvania; Philadelphia Museum of Art and the University of Pennsylvania, Philadelphia, PA

 

March 2016

 

ART IN CONTEXT/TREDYFFRIN (POP at TREDYFFRIN LIBRARY)

In the 1950s and 1960s, Pop Art became a global phenomenon, as highlighted in the exhibition International Pop (2016). Pop art marked a decisive shift away from the psychologically-grounded abstract canvases that dominated the avant garde after the Second World War. In contrast, Pop Art was more accessible, more colorful, and met the viewer on his/her own terms, with a type of immediately recognizable, popular, commercial iconography. Offering a mirror of our world, Pop Art reflects the rise of sameness and mass-production endemic to postwar consumer culture. 

Tredyffrin Public Library, Tredyffrin, PA

 

March 2016

ART IN CONTEXT/PHILADELPHIA (PHILADELPHIA'S MASTERPIECES at MT AIRY LT)

Philadelphia is home to many canonical masterpieces from the history of art and architecture, from a wide range of important historic and stylistic periods.  

Mt. Airy Learning Tree, and The Barnes Foundation, Philadelphia, PA

 

March 2016

ART AND INNOVATION/PHILADELPHIA (WHARTON at PMA)

Innovation is central to best business practices, as without ​creativity, institutions fall behind. This central reality is crucial to the historiography of the history of art, especially within the avant-garde. 

The Avery Institute of Executive Education, The Wharton School, University of Pennsylvania; Philadelphia Museum of Art, Philadelphia, PA

March 2016

ART IN CONTEXT/PHILADELPHIA (PAINTING/WALLS: ROTHKO AND THE ARCHITECTURE OF THE ABSTRACT EXPRESSIONISTS)

The large scale canvases of the Abstract Expressionists alone suggested a new kind of phenomenological and perceptual experience. When exhibited in relatively small galleries, this effect was underscored, and made the colossal paintings seem more architectural, more like walls. Rothko harnessed this reality, endeavoring to "make a place" within the confines of his canvases, a space within which his viewers might be able to feel something akin to a Jungian archetype. The blurred distinction between painting and architecture is one of the key milestones of the New York School.

Cathedral Village, Philadelphia, PA

 

February 2016

ART AND INNOVATION/AMSTERDAM (TOMMY/CALVIN at STEDELIJK)

Week-long lecture series, gallery sessions, and seminar workshops grounded in the complex relationship of maintaining creativity despite the pressures of Wall Street's ultimate bottom line. 

Stedelijk Museum, and Tommy Hilfiger/Calvin Klein Head Office, Amsterdam, The Netherlands

 

February 2016

ART IN CONTEXT/FORT MYERS (THE MIDAS TOUCH: ART AND COMMODITY IN THE 21ST CENTURY at FGCU)

Art and money have always been interwoven, whether conspicuously, or in reaction against a perceived vulgarity of commodity. This is true now more than ever.

Salke Contemporary Art Study Group, The Renaissance Academy of Florida Gulf Coast University, Florida Gulf Coast University, Fort Myers, FL

 

January 2016

ART AND INNOVATION

Innovation is central to best business practices, as without ​creativity, institutions fall behind. This central reality is crucial to the historiography of the history of art, especially within the avant-garde. 

The Avery Institute of Executive Education, The Wharton School, University of Pennsylvania; Philadelphia Museum of Art, Philadelphia, PA

October 2015

WORLD VIEW: GLOBAL CONTEMPORARY ART

Tracey Rose's depictions of race and gender in Africa, Mariko Mori's images that interrogate gender stereotyping in Japan, and Cai Guo-Qiang's lyrical gunpowder explosions, among many other groundbreaking works, continue to underscore that globalism in art is the new academy.

The Barnes Foundation, Philadelphia, PA

 

October 2015

GLOBAL VILLAGE: ART OF THE 21ST CENTURY

Pair of lectures (“Contemporary Art from the Americas and Europe” and “African, Asian, and Australian Art of Today”) that highlight key contemporary artist from around the globe.

 

Philadelphia Museum of Art, Philadelphia, PA

 

October 2015

ART AND INNOVATION

Innovation is central to best business practices, as without ​creativity, institutions fall behind. This central reality is crucial to the historiography of the history of art, especially within the avant-garde. 

Fellows Program, The Wharton School, University of Pennsylvania; Philadelphia Museum of Art, Philadelphia, PA

October 2015

ART AND INNOVATION

Innovation is central to best business practices, as without ​creativity, institutions fall behind. This central reality is crucial to the historiography of the history of art, especially within the avant-garde. 

The Avery Institute of Executive Education, The Wharton School, University of Pennsylvania; Philadelphia Museum of Art, Philadelphia, PA

September 2015

ART AND INNOVATION

Innovation is central to best business practices, as without ​creativity, institutions fall behind. This central reality is crucial to the historiography of the history of art, especially within the avant-garde. 

PVH Corporation; The Avery Institute of Executive Education, The Wharton School, University of Pennsylvania; Philadelphia Museum of Art, Philadelphia, PA

September 2015