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Connie Butler, directrice du MoMa :
Une belle et bonne nouvelle, Une personne qui connait l'art et combien il est difficile de présenter ses
productions, Elle est née le 1er février 1963 est une conservatrice de musée américaine, auteure et historienne
de l'art. Depuis 2013, Butler est le conservateur en chef du Hammer Museum de Los Angeles, elle est diplômée
en 1980 de la Marlborough School et diplômé en 1984 du Scripps College.
De 2006 à 2013, elle a été conservatrice en chef des dessins de la Robert Lehman Foundation au
Museum of Modern Art de New York. Avant cela, elle était conservatrice au Musée d'art contemporain de
Los Angeles (MOCA), de 1996 à 2006. Butler a également occupé des postes de conservateur au
Neuberger Museum of Art à Purchase, New York ; Espace d'artistes à New York ; et le Centre des Arts Des
Moines. Elle a été embauchée comme conservatrice des dessins pour le MoMA en octobre 2005, alors
qu'elle travaillait encore sur le développement de son WACK! projet pour MOCA.
Son exposition multimédia WACK Art and the Feminist Revolution traitait de l'art féministe international des
années 1970.
L'exposition a été présentée au Geffen Contemporary au Musée d'art contemporain de Los Angeles à l'été 2007. Lors de la conservation
WACK, la critique Carolyn Stuart a noté que Butler comprenait des œuvres de 124 femmes artistes et de plusieurs collaborateurs
masculins, et comprenait également plusieurs œuvres d'art "avec peu ou pas de contenu féministe évident", ou des œuvres non décrites
comme féministes par leurs créateurs. Elle a copublié un livre sur l'exposition en 2007. Elle a été interviewée pour le film Women Art Revolution.
Elle a co-écrit le livre From Conceptualism to Feminism : Lucy Lippard's Numbers Shows 1969–74, qui a été publié en 2013.
En juillet 2013, elle a commencé à superviser l'intégralité du département de conservation du Hammer Museum, y compris expositions, la construction de la Hammer Contemporary Collection et la supervision du programme de résidence d'artistes et du conseil d'artistes du Hammer. En mai 2014 au MoMA, elle a co-organisé la première grande rétrospective Lygia Clark à se tenir aux États-Unis. Travaillant pour le Hammer Museum de Los Angeles en tant que conservatrice en chef, elle a obtenu en avril 2016 un don de photographies de rue de Daido Moriyama , la plus grande collection au monde. En 2019, elle a organisé une exposition sur Lari Pittman. En 2020, elle développait une exposition sur le féminisme intitulée Witch Hunt. La sortie a été repoussée à février 2021. Elle a remporté le prix Audrey Irmas 2020 pour l'excellence en conservation du CCS Bard (The Center for Curatorial Studies at Bard College).
Source Wikipedia
For nearly a year, MoMA PS1 has been looking for a candidate to fill its top job. Now, the Queens museum has announced that it has found its new director in Connie Butler, chief curator at Los Angeles’s Hammer Museum at UCLA since 2013. She will take up the post in September.
“I’m very excited to meet and get to know the staff and to thoroughly dive into the work that they have been doing, and really to also draw on the many ingredients that I think are there in MoMA PS1’s great history,” Butler told Artnet News by phone.
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“Connie Butler is widely known and admired as a trailblazing curator and scholar, as well as a dedicated mentor to rising museum professionals,” MoMA director Glenn Lowry said in a statement. “With her close working relationships with artists, both established and emerging, and her long-standing connections to MoMA and New York, we know she will advance MoMA PS1 in all aspects of its ambitious program. I look forward to working with her again.”
The job was previously held by Kate Fowle, who resigned in summer 2022, just three years into her tenure, without citing a reason for the departure.
Asked to name the greatest challenge facing the institution, she said, “There are two significant challenges that are also opportunities: first, a gorgeous historic building that needs attending to to make it more accessible for its local community and the New York audience. The second, which is an exciting one, is that there are so many great spaces in New york City doing great work and [the challenge is] to think about how MoMA PS1 fits into that ecosystem and what distinguishes it and makes it essential viewing for New Yorkers.”
Butler has been part of Los Angeles’s rise as a center for the making and viewing of contemporary art, partly through the Hammer’s recurring exhibition “Made in L.A.,” which focuses on practitioners in the region. She curated the second edition, in 2014.
Feminism has been a major focus for the curator, and she has done much work to recognize women artists. “I have always honestly felt the deep rage that comes from being a woman growing up and becoming an adult under patriarchy in the United States,” she said in a 2021 interview with UCLA.
She co-organized the show “WACK! Art and the Feminist Revolution” at the Museum of Contemporary Art in Los Angeles, where she was curator from 1996 to 2006 (it traveled to MoMA PS1 in 2008). She also co-organized shows devoted to Adrian Piper (2018), Lygia Clark (2014), and Marisa Merz (2017), and co-edited the 2010 volume Modern Women: Women Artists at the Museum of Modern Art.
Butler has contributed to several important exhibitions at MoMA PS1 in the past. She served as part of the curatorial team for “Greater New York” (2010), and co-organized major exhibitions including “Now Dig This! Art and Black Los Angeles 1960–1980” (2012) and “Mike Kelley” (2013). She is also well-acquainted with PS1’s partner institution, having served as chief curator of drawings at the Museum of Modern Art from 2006 to 2013.
Before joining MoCA L.A. in 1996, Butler got her start at the Des Moines Art Center; the Neuberger Museum of Art at Purchase College, State University of New York; and Artists Space in New York.
At the Hammer, Butler has organized distinctive shows, such as “Joan Didion: What She Means” (co-curated with Hilton Als in 2022-23). Her work has been recognized with the Audrey Irmas Award for Curatorial Excellence from the Center for Curatorial Studies at Bard College, and she was a 2020 fellow at the Center for Curatorial Leadership.
