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Join curator Ingrid Schaffner for an afternoon of informal conversation about ‘Jason Rhoades. DRIVE’ in ‘The Pit’ a space to lounge and linger in the exhibition. ‘DRIVE’ is a yearlong exploration of Rhoades’ art via the subject of cars and car culture.
This event is free. However, due to limited space, reservations are recommended.
Click here to register.
About Ingrid Schaffner
Internationally admired as a curator, art critic, writer, and educator with nearly four decades of experience in the field of contemporary art, Schaffner is known for her generative and original scholarship focused on themes of archiving and collecting, photography, feminism, and alternate modernisms. Her many significant monographic and thematic exhibitions have brought attention to under-recognized artists and little-explored themes and practices in the art world. Most recently she served as Curator at the Chinati Foundation/La Fundación Chinati in Marfa, Texas, where she oversaw a program of special exhibitions, artist residencies, publications, and new scholarship in concert with the collection established by Donald Judd of permanent installations by artists, including John Chamberlain and Roni Horn.
Schaffner was the curator of the 57th Carnegie International at the Carnegie Museum of Art in 2018, where she presented major installations by artists and collectives, including El Anatsui, Alex Da Corte, Zoe Leonard, Postcommodity, and Lynette Yiadom-Boakye. From 2000 to 2015, as Chief Curator at the Institute of Contemporary Art (ICA) at the University of Pennsylvania, she led a program that was renowned for its vision, creativity and dedication to artists. Among her many critically acclaimed ICA exhibitions is ‘Four Roads,’ the first major American museum presentation devoted to Jason Rhoades.
Schaffner’s exhibitions and publications as an independent curator and writer include ‘Deep Storage: Storing, Archiving and Collecting in Art’ (Haus der Kunst/Prestel); ‘Salvador Dalí’s Dream of Venus’ (Princeton Architectural Press); ‘Julien Levy: Portrait of an Art Gallery’ (MIT Press); ‘Gloria: Another look at feminist art of the 1970s’ (White Columns); ‘Jess: To and From the Printed Page’ (Independent Curators International) and ‘Chocolate!’ (Swiss Institute). Her contention that writing about art should be lively and engaging as well as acutely researched is the premise of her widely taught essay ‘Wall Text’ (Philadelphia Exhibitions Initiative/Reaktion Books). She served for many years on the Graduate Advisory Committee of the Center for Curatorial Studies at Bard College