Artist Selection Panelist Biographies Portable Works 2021 Prepared for the City of Houston by Houston Arts Alliance Department of Civic Art + Design Art Professionals Deborah Fullerton Curator of Exhibitions, Art Museum of South Texas Corpus Christi, Texas Deborah Fullerton has served as Curator of Exhibitions since 2005. She holds a Bachelor of Fine Arts degree from Corpus Christi State University and a Masters of Art degree from Texas A&M University-Corpus Christi. Following her work in the field of Outreach Art Education for the Creative Arts Center, Deborah joined the Art Museum as Outreach Coordinator in 1994. In 1995, she began her role as Curator of Education and later that Fall the Art Museum affiliated with TAMUCC. In 1996, the Museum merged with two local arts organizations; The Center for Hispanic Arts and the Creative Arts Center, forming the South Texas Institute for the Arts, and Deborah became the Curator of Adult Education. It was during this time that she coordinated the visiting artists for Art Journeys, appearing on live interactive television sponsored by H.E.B. In 2000, Deborah began the Student Docent Program, bringing University students into the museum as trainees to lead tours, and co-hosted with University film faculty a 19-year run of The Territory, an Independent Film Series on KEDT-PBS. As Curator of Exhibitions, Deborah has curated 22 unique exhibitions, traveling one-person exhibitions in Texas, and Arte Caliente, a private collection and Modern and Contemporary Masters: Selections from the Permanent Collection throughout the U.S. She has contributed to and overseen the publication of numerous art catalogues, including the Target Texas: drawn worlds which we will look at today. Since the COVID 19 pandemic which began on March 17, 2020 Deborah has learned to Zoom, Web Ex, connect remotely to the files, colleagues in the museum field and her fellow museum colleagues and is currently working on-site installing, researching, presenting and negotiating future projects including the Philip Johnson 50th Year Anniversary exhibitions for 2022. In her free-time during the stay-at-home time she excavated a portion of her front lawn (due to a grub infestation) and designed a bird and butterfly garden viewable from her front living room, which has served to give her and her husband Jim many thrilling encounters with nature right outside their windows! Page| 4 Christopher Green Professor, University of North Texas, Denton, Texas Christopher Green is a scholar of modern and contemporary art whose research focuses on Native American art and material culture, primitivisms of the historic and neo-avant-garde, and the global representation and display of Indigenous culture. He holds a PhD from the Graduate Center, City University of New York, and currently serves as Visiting Assistant Professor of Art History at the University of North Texas Anjali Gupta Curator, Editor, Producer, and Writer San Antonio, Texas Anjali Gupta is a curator, editor, producer and writer based in San Antonio. Anjali was Director and Curator of Sala Diaz from 2015-2020. She was also Director of the Casa Chuck Residency, an invitational program for curators, critics and writers housed next door to Sala Diaz in the home of the late Chuck Ramirez (2012-2020). Prior, she was Executive Director (2008-2010) and Editor-in-Chief (2003-2010) of Art Lies, a contemporary art quarterly published in Houston. During her tenure, Art Lies received a multi-year award from The Andy Warhol/Creative Capital Publications Initiative for critical merit, which helped increase contributor’s fees and establish alternative distribution models for nonprofit arts journals. From 1996-2005, she curated exhibitions and interdisciplinary events in her own art spaces in San Antonio (The Wong Spot, 811 Lounge, The Honey Factory and The Wiggle Room). Additional exhibitions include a four-part project with Jason Singleton at fluent~collaborative (Austin, 2004), Roy Stanfield: Armacell (Lab Gallery, NYC, 2005), Critics Select (Shore Institute of Contemporary Art (Long Branch, NJ, 2005), Michele Monseau: Gone Again (Blue Star Contemporary, San Antonio, 2007), Ballad of the Non-specific Object (David Shelton Gallery, San Antonio, 2011) and Megan Harrison: Atramentite (Guest Curator, Sala Diaz, 2013). From 2004-2006, she was Assistant Director of Contemporary Art Month, an annual, month-long, citywide celebration of the contemporary arts in San Antonio. Page| 5 Her writing has appeared in periodicals including Art Asia Pacific, Art Lies, Art Papers, artUS, Glasstire, Magnet, …might be good, Punk Planet, San Antonio Current and tema celeste; as well as catalogues including the Blanton Museum of Art: American Art Since 1900 [Wangechi Mutu & Peter Rostovsky] (2007); Beers, Steers & Queers: The Texas Biennial (Big Medium, 2007); Chuck Ramirez: Minimally Baroque (Ruiz- Healy Gallery, 2011), America’s Finest: Recent Works by Vincent Valdez (David Shelton Gallery, 2013) Sara Frantz: In Search of the Vernacular (Women & Their Work, 2015), Sterling Allen & Larry Graeber: Formal Proof (Blue Star Contemporary, 2019) and The Perilous Texas Adventures of Mark Dion (Amon Carter Museum, 2020). Book editing projects include the AMA award-winning monograph Thomas Glassford: CADÁVER EXQUISITO (UNAM, 2007), Silvia Gruner: Un Chant d'Amour (Sala de Arte Publico Siqueiros, 2008), Colin de Land/American Fine Arts Co. (text only, with Dennis Balk, powerHouse Books, 2008), Unpacking the Collection (Museum of Contemporary Craft, 2008) and Manuel Espinosa (Colección Espinosa, 2013). Gupta’s video credits include shooting, producing and/or editing projects for Edgar Arceneaux, Candice Breitz, Kendell Geers, Henrik Plenge Jakobsen, Christian Jankowski, Jorge Macchi, Susan Philipsz, Paul Pfeiffer, Shahzia Sikander, Yutaka Sone, Andre Stitt, Survival Research Labs and Jeremy Deller’s Turner Prize-winning Memory Bucket. Additionally, she worked as a Lecturer in the Graduate Studio Art Department at the University of Texas at Austin, served a panelist and final round juror for the Andy Warhol Foundation for the Visual Arts/Creative Capital Arts Writers Program (2008/2010) and was a planning committee member for the 2011 Warhol/Creative Capital Arts Writers Convening. She has also served on multiple panels at College Art Association, public art selection committees in both Houston and San Antonio, and as a grant nominator for Art Matters, the Herb Alpert Foundation and Red Bull Arts, among other organizations. Page| 6 Andrea Karnes Senior Curator, Modern Art Museum of Fort Worth Fort Worth, Texas Andrea Karnes is senior curator of the Modern Art Museum of Fort Worth. Most recently, she organized a four-decade-long survey of the work of the artist Laurie Simmons, Laurie Simmons: Big Camera/Little Camera, which opened in 2018 in Fort Worth and traveled to the Museum of Contemporary Art in Chicago in 2019. The exhibition examined Simmons’s career-long observations of prescribed gender roles, especially exploring American women in domestic settings. In 2016, Karnes curated KAWS: WHERE THE END STARTS, which broke the Modern’s attendance records to date before traveling to the Yuz Museum in Shanghai. México Inside Out: Themes in Art Since 1990, on view in 2013–14, was an international, multigenerational group presentation exploring contemporary Mexican art in relationship to global conceptualism. The exhibition Hubbard/Birchler: No Room to Answer, on view in 2009, featured the collaborative photographic and video works of the Swiss/American team Teresa Hubbard and Alexander Birchler, whose work was recently presented in the Swiss Pavilion of the 57th Venice Biennale. In 2007, Karnes presented Pretty Baby, a group exhibition that included the works of thirteen artists who addressed the subject of childhood, from innocent reverie to the dark side. In 2005, she organized Pierre Huyghe: One Million + Kingdoms, and in 2004, Julie Bozzi: Landscapes. As curator of the Modern’s FOCUS series from 2005 to 2015, Karnes organized nearly thirty solo exhibitions of international artists working in a range of media. The FOCUS exhibitions featured the work of Rosson Crow, Jeff Elrod, Teresita Fernández, KAWS, Vera Lutter, Barry McGee, Cornelia Parker, Erik Parker, Yinka Shonibare MBE, Gary Simmons, Rirkrit Tiravanija, and Kehinde Wiley, among many others. Her current project is an exploration of women painters who paint women as subject matter. The exhibition, set to open in spring 2022, is titled, Daughters Sisters Lovers Mothers Visionaries: Women Painting Women, and is a five-decade long look at some of the most intriguing painted images of women in the world today. Karnes has authored publications in conjunction with her major exhibitions, including Laurie Simmons: Big Camera/Little Camera; KAWS: WHERE THE END STARTS; México Inside Out: Themes in Art Since 1990; Hubbard/Birchler: No Room to Answer; Pretty Baby; Pierre Huyghe: Stranger than Fiction; and Julie Bozzi: Hidden in Plain Sight. She was a contributing author for Urban Theater: New York Art in the 1980s and for the Modern’s permanent collection catalogues, Modern Art Museum of Fort Worth: 110 and Modern Art Museum of Fort Worth: Collection Highlights. Karnes completed her master’s degree in art history at Texas Christian University in May 2000. Her thesis, Sally Mann: Beyond the Black and White, offers an in-depth look at the artist’s monograph Immediate Family, published in the early 1990s. Specifically addressing the critical reception of Immediate Family, Page|