Professional Experience

Arts Management Consultant, Winston Salem, North Carolina, 2010 – present. Providing expertise in management, curatorial programming, and planning for artists and arts/cultural organizations on a project-by-project basis. Recently completed a full-time three-year art management contract as Director and Chief Curator, Fine Art Museum and Director of Special Projects and Initiatives, Western Carolina University. Day-to-day administration duties and oversight of all curatorial/educational programming for university art museum, train and supervise staff, budget development and fiscal oversight, work with development department to identify funding opportunities, strategic planning, branding, marketing and pr initiatives, promoting collaborations and engaged learning opportunities with faculty and students across department disciplines. Researched and created reports that considered the position of the museum within its peers institutions across the state, making the case for increased support by the university. Worked with the business school director to begin the process of developing a separate 501(c) (3) non-profit organization to support the museum and to be the legal entity that owns the museum’s collection. Represent the organization and school at regional and national conferences, state-wide events, and cultural activities. Also work to identify and manage multidisciplinary special public projects for the College of Fine and Performing Arts that result in a higher visibility and increased enrollment for the College and the University.

Deputy Director of Art, Taubman Museum of Art, Roanoke, Virginia. 2007 – 2010 Provided the vision and leadership for the successful reinvention of an established fifty-year old organization, transitioning into a new 81,000 sq foot state-of-the-art facility in November 2008. The $61 million new museum had a first year budget of $4.1 million and a staff of 42. Worked with the Director in presenting capital campaign funding opportunities to current and potential patrons. Oversaw all art and aesthetic strategies and development for the public spaces of the museum, including all exhibitions, public programming and related activities, created a new space for new media and a community oriented area for regional art and culture. Worked directly with architect Randall Stout and Associates in designing various aspects of the museum’s public spaces. Range of exhibitions in the year one included Rethinking Landscape: Contemporary Photography; In the Cataclysmic Calm: Randal Stout Architecture; Pens and Needles: Drawings for Tattoos; In Life I Was Silent, In Death I Sing (regional string instrument makers and music series); Stand Up and Holler: Mike Houston and Martin Mazorra; Devorah Sperber: A Strange Case of Déjà vu; Primitivo Suarez-Wolfe: Recurring; Reef: Rob Ley and Joshua G. Stein; and others.

Spearheaded a major national art educational initiative with a budget of $300,000 (chiefly provided by two major patrons with additional support by members of the community); conceiving, planning and implementing new 2200 square foot art learning lab in February, 2009 with selected nationally-recognized co-collaborators:

Allan and Ellen Wexler (artists, architect and art educator), Gary Panter (artist and Emmy-award winning set designer for Pee-Wee’s Playhouse), Joshua White (TV and theater producer, designer of Joshua White Light Shows for Bill Graham’s Fillmore East and other cultural institutions), Jeremy Kolosine (internationally recognized electronic 8-bit musician and record producer).

Developed Bright Minds, Big Ideas – a quarterly lecture series investigating the use of innovation and creativity across various disciplines. Participants include: Paul Miller, aka D.J. Spooky, that subliminal kid (writer, composer, musician); Steve Badanes and John Connell (designers/builders of sustainable structures); and Anna Deveare Smith (actress, playwright, educator, MacArthur ‘genius’ grantee).

Chief Curator and the HOME House Project Director, Southeastern Center for Contemporary Art, Winston Salem, North Carolina. 1999 to 2007. Performed administration, curatorial oversight and related activities for large contemporary art institution with annual operating budget of $1.3 million and a staff of 13. Developed and maintained relationships with donors (including members of the Hanes Family Foundation), institutions, business and community leaders, and artists resulting in continuing support for the organization.

Devised, planned, funded and implemented all aspects of The HOME House Project (HHP), a six-year, international, arts-based initiative on the future of sustainable, affordable housing. Worked with mayors, city and state officials, heads of utility commissions, affordable housing groups and advocates, art museums, architects and artists in realizing the project. The initiative was divided into 6 parts: a competition, an exhibition that traveled to 10 cities across the US; a building stage (Cincinnati built the first two homes); shared inventory of new building materials and technologies; an educational program consisting of films, videos, lectures, and panels; and an award-winning book (that I co-designed) published and is currently available through MIT Press, Boston, MA. According to Bart Harvey, CEO of the Enterprise Foundation (Columbia, MD), HHP was the chief inspiration for their Green Building Initiative that started out as a 5-year, $555 million program that has since grown to $6 billion range in 26 Enterprise zones across the US.

Administration and management included network development that helped increased the visibility and funding opportunities for the organization; yearly budget development and oversight; research; public presentations and media interviews; short and long range planning including leading a staff driven initiative for the organization’s first capital campaign in twenty years; fundraising including grant writing, direct asks and business partnerships; plan and design of scholarly publications, and other printed media; publications; board liaison; supervision of 5 full time and 10 part-time staff.

Curator, Contemporary Arts Center, Cincinnati, Ohio. 1996-99. Created and managed all aspects of exhibition programming for major arts institution with an annual operating budget of $1.1 million, a staff of 14, and 10,000 square feet of exhibition space. Developed and maintained relationships with other cultural institutions, business and community leaders, artists, and patrons.

Worked as part of a two-person team to develop and raise funds for exhibitions and related programming for the institution. Using board contacts, we met with corporate reps to present packaged funding opportunities (and a range of benefits for the supporters) with a success rate between 80-90 percent for a dozen annual programs. The support opportunities ranged from $10,000 dollars on the low end to $50,000 on the high end.

Other duties involved network development with other contemporary art institutions; annual budget development and monitoring; research; short range planning including the initial planning for a new $25 million building that Zaha Hadid was commissioned to design and build; grant development and fundraising as mentioned; publications; staff supervision (3 direct and 8-10 indirect reports); related programming events.

Director, Exhibitions, Maryland Institute, College of Art, Baltimore, MD, 1989-96. Administrator and programmer for five galleries in three separate buildings for a nationally recognized art school. Identified and secured various funding opportunities resulting in the realization of extensive projects. Worked with public relations and other staff to brand, market, and advertise the program. Hired and trained staff and student workers. Developed and oversaw annual budgets. Facilitated relationships between 110 faculty, 1500 students, exhibiting and resident artists and the greater Baltimore community. Co-chaired the advisory committee comprised of faculty, staff, and student reps.