BOARD OF DIRECTORS
Kealey Boyd is an art historian, writer and museum educator. She is a regular contributor to Hyperallergic and has published with College Art Association (CAA Reviews) and Artillery Magazine. She is also a lecturer in Art History, Theory and Criticism at Metropolitan State University of Denver. Her research interests include methodologies for interpreting painting and other visual forms as an integral element of political and cultural discourses.
Joanna Darst is a 15-year veteran of using social media, web, mobile and emerging technologies to cultivate consumer relationships with brands and inspire behavior change. Ms. Darst recently joined beer powerhouse Molson Coors as the Global Director of Media and Consumer Activation, focusing on accelerating global brand. She is an avid gardener, a lover of jam bands and maintains strong curiosity of global cultural effects of the digital revolution.
Lori Lucas’s book of poetry, Chiaroscuro, is in its 4th printing and her newest volume, Contrapposto, is in the works. She has taught literature for many years, specializing in Shakespeare Studies and Jewish American Fiction. She is a lover of language and languages. She lives in the Castle House in Boulder when she is not traveling. Lori serves on several boards including the CU Art Museum Advisory Board and the International School of Brussels Foundation Board.
Tim Roberts is the director of the Denver-based publisher and exhibition space Counterpath (counterpathpress.org). He is a doctoral candidate in the Intermedia Art, Writing, and Performance program at the University of Colorado, Boulder, and the author of Drizzle Pocket (2011) and The Reaganites (2018).
Derrick Velasquez is an artist living and working in Denver, Colorado. He is co-founder of Tank Studios and founder of Yes Ma’am Projects, an artist run gallery in the basement of his house focusing on creating opportunities for artists and audiences to connect through dynamic exhibitions. Derrick also serves on the city of Denver’s Commission on Cultural Affairs and as a board member of Tilt West. His recent solo exhibitions have been at the MCA Denver, Robischon Gallery, and the Herron School of Art and Design in Indianapolis.
Yasmeen Siddiqui is an editor at Hyperallergic and collaborates on multiple fronts with art historian, Alpesh Kantilal Patel, co-editing a forthcoming book in the Intellect Books Series, “Living and Sustaining a Creative Life: The Storytellers of Art History;” co-moderating a discussion for the 2019 College Art Association Conference, “A reckoning with the recent future of art historical knowledge production”; and will be part of a core-faculty, teaching at the Chautauqua School of Art starting in the summer 2019.
Guiding Yasmeen Siddiqui’s practice is an overarching commitment to testing perceptions of either specific artists or existing art movements through the synchronized interplay of writing and exhibition making. Siddiqui’s pasts subjects in writing and curating have included Do Ho Suh, Consuelo Castañeda, Hassan Khan, Linda Ganjian, Pia Lindman, Lara Baladi, Mary Carothers, Matt Lynch and Chris Vorhees, and Mel Charney. Her writing has appeared on Hyperallergic and in ART PAPERS, the Cairo Times, Medina Magazine, Flash Art, Modern Painters, NKA and The Brooklyn Rail, and in books and exhibition catalogues including: Fault Lines Contemporary African Art and Shifting Landscapes; Do Ho Suh: A Contingent Object of Research; “Do Ho Suh” in If you were to live here: The 5th Auckland Triennial; On Architecture. Melvin Charney a Critical Anthology, edited by Louis Martin.
Claire Barliant is a curator and writer based in Cambridge, MA. Claire has worked as the Curatorial Advisor at the Elizabeth Foundation for the Arts Project Space in New York, associate editor of Artforum and executive editor of Modern Painters. Her writing has appeared in Triple Canopy, Time Out New York, Artforum, Bookforum, Art in America, and Icon, as well as numerous catalogues and for many years she was a regular contributor to the art section of the New Yorker’s “Goings On About Town.” She has held teaching positions, either as adjunct professor, master lecturer, or visiting critic at University of the Arts, Philadelphia, SUNY Purchase, Parsons, the New School, NYU, and Yale. Recent curatorial projects include As We Were Saying: Art and Identity in the Age of ‘Post’ at EFA Project Space, New York, NY (2014), Kool-Aid Wino at Franklin Street Works, Stamford, CT (2013), and a screening series for Dirty Looks: On Location, New York (2013).
Nicole J. Caruth is a writer and curator of contemporary art. She is currently the artistic director at The Union for Contemporary Art. Prior to joining the Center, Nicole held positions at McColl Center for Art + Innovation, Art21, Bemis Center for Contemporary Arts, and the Brooklyn Museum. Nicole’s curatorial projects include, most recently, The Grace Jones Project at the Museum of the African Diaspora; Crossroad: A Social Sculpture by the artist Derrick Adams; and Power of People, Power of Place by Fallen Fruit Collective. Her writing has appeared in ARTnews, C Magazine, Gastronomica, Nka: Journal of Contemporary African Art, Public Art Review, Walker Art Center Magazine, the Phaidon Press volumes Vitamin Green and Vitamin D2, and exhibition catalogues published by Joan Mitchell Foundation and The Studio Museum in Harlem. She is founding editor of Art21 Magazine (est. 2013), an online space for insightful writing on contemporary art and artists. In 2012, Nicole founded With Food in Mind, a nomadic nonprofit developing art-based approaches to childhood obesity and nutrition disparities in low-income neighborhoods and communities of color. Her extensive writing about food in contemporary has earned her recognition as a leading voice on the subject. She is currently collaborating with the artist Elia Alba on her book, The Supper Club.
Theodora Doulamis is the Exhibition Designer at The Detroit Institute of Arts. She holds a Bachelor in Studio Art and Art History from Concordia University in Montreal as well as a Bachelor of Architecture from The Cooper Union for the Advancement of Science and Art in New York. Over the last decade she has worked in the field of exhibition development and design at Storefront for Art and Architecture, The Canadian Centre for Architecture and Americas Society.
Heba Farid is a multidisciplinary artist and cultural manager based in Cairo since 2000, with a background in architecture and fine arts. Her work has been exhibited and published internationally. Since 2004, she has been active in institutional development and cultural research with a focus on photography as a founder of the Contemporary Image Collective (CiC), based in Cairo, an art center dedicated to the visual image, as the coordinator and initiator of the multidisciplinary art/research project about Na’ima al-Misriyya, an early 20th century performer, and as coordinator of the photographic heritage program at CULTNAT, the Center for Documentation of Cultural and Natural Heritage (Bibliotheca Alexandrina). She has participated in and published articles for several regional symposiums on archiving and photographic heritage and curated exhibitions based on the historic photograph collections. She has received several professional training in the preservation and management of photograph collections, and is a MEPPI alumni. She is currently adjunct professor of practice in photography at the Department of the Arts, American University in Cairo (AUC), and is embarking on an entrepreneurial startup venture dedicated to the preservation and activation of photograph collections and visual heritage.
Cecily Cullen is the managing director and curator at the MSU Denver Center for Visual Art. She has curated exhibitions that address global, social issues including Water Line: A Creative Exchange, Under the Guillotine: James Gillray and Contemporary Counterparts, Spatial Stories: Topographies of Change in Africa, and Cross Currents: Native American Forces in Contemporary Art. She worked with artists Christo and Jeanne-Claude as the organizer of the traveling exhibition, Christo and Jeanne-Claude: Prints and Objects in 2010. Cullen has been a guest juror for numerous exhibitions, festivals, publications and public art projects, and has served twice on the National Endowment for the Arts art museums grants panel. She sits on the Colorado Attorneys for the Arts advisory board, and was a member of the Cherry Creek Arts Festival Board of Directors from 2012 – 2015.
Baron Kelly has the distinction of being a four-time Fulbright Scholar and an internationally recognized critic, historian, practitioner, and scholar. He is the Head of Acting at the University of Louisville. Recent directing credits include: The Lucky One for Feng Cheng University and Ray Cooney’s Out of Order for National Chung Cheng University both in Taiwan. Currently, he serves on the boards of both the Comparative Drama Conference, Stanislavsky Institute, and the Fulbright Review Panel. In addition he is a member of the National Theatre Conference. Acting assignments include Broadway; Royal National Theatre of Great Britain; Yermolava Theatre, Moscow, Russia; Stratford Shakespeare Festival of Canada; Edinburgh Theatre Festival. Performances for over 30 of America’s resident theatres including the Oregon Utah, and California Shakespeare, The Guthrie; and Yale Rep.
Lyra Kilston is a writer, critic, and editor in Los Angeles. Her writing on art, architecture, and urbanism has been published in books, magazines and websites, and produced as documentary shorts for public television. She has worked for such institutions as the Boulder Museum of Contemporary Art (Colorado), the Performa Biennial (New York), California Institute of the Arts, and the Getty Research Institute and J. Paul Getty Museum (California).
Steven Matijcio is the curator of the Contemporary Arts Center in Cincinnati. Prior to this he served as Curator of Contemporary Art at the Southeastern Center for Contemporary Art (SECCA) in Winston-Salem, NC from 2008-2013. Matijcio is a graduate of the Center for Curatorial Studies at Bard College and has held positions in a number of galleries and museums including the Plug In Institute of Contemporary Art, the Power Plant Contemporary Art Gallery, the Art Gallery of Ontario, and the National Gallery of Canada. Matijcio was honored in 2010 with a prestigious Tremaine Exhibition Award for the project paperless.
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