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= Kelly Baum (curator) = Kelly Baum is an American curator and author whose work mainly focuses on modern and contemporary art. Baum has been working as a curator for seventeen years and in that time has put together numerous exhibitions as curator, co-curator and curatorial adviser. She received a B.A. in art history at the University of North Carolina at Chapel Hill in 1993, and went on to acquire an M.A. (1995) and then a Ph.D. in art history at the University of Delaware in 2005. Her more recent work with the Metropolitan Museum of Art and Princeton University Art Museum have been applauded for its usage of diverse artists, deviating from the museums' norm and delving into provocative political subject matter.

Metropolitan Museum of Art (Sept. 2016–present)
Cynthia Hazen Polsky and Leon Polsky Curator of Contemporary Art

Curator

--The Met Façade Commission: Wangechi Mutu / The NewOnes, will free Us (fall 2019)

--The Roof Garden Commission: Alicja Kwade / ParaPivot (spring 2019)

--Public Service Announcement: Works by Eva Ko´tátková and Rachel Harrison (spring 2018)

--Leon Golub: Raw Nerve (winter 2018)

--Delirious: Art at the Limits of Reason, 1950-1980 (fall 2017)

--The Body Politic: Video from The Met Collection (summer 2017)

Co-curator

--Alice Neel: Painter as Radical Humanist, 1900-1984 (upcoming, spring 2021) (with Randy Griffey)

--Odyssey: Jack Whitten Sculpture, 1965-2016 (fall 2018) (with Katy Siegel and the Baltimore Museum of Art)

Metropolitan Museum of Art (July 2015–Sept. 2016)
Curator of Postwar and Contemporary Art

Curator

--Alex Katz at the Met (fall 2015)

--Richard Tuttle: The Critical Edge (spring 2016)

Co-curator

--Unfinished: Thoughts Left Visible (with Andrea Bayer and Nicholas Cullinan) (spring 2016)

Princeton University Art Museum (July 2010–June 2015)
Haskell Curator of Modern and Contemporary Art

Curator

--Collecting Contemporary: Herb and Lenore Schorr at Princeton (summer 2015)

--Rothko to Richter: Mark-Making in Abstract Painting from the Collection of Preston H. Haskell (spring 2014; reviewed in New York Times)

--Felix Gonzalez-Torres: Billboard Project (fall 2013)

--New Jersey as Non-Site (fall 2013) [supported in part by a curatorial research grant from The Andy Warhol Foundation; reviewed in New York Times, Newark Star-Ledger, Daily Princetonian, and Wall Street Journal]

--Doug Aiken: migration (empire) (fall 2010)

--Nobody’s Property: Art, Land, Space, 2000-2010 (fall 2010) [supported in part by a grant from the Elizabeth Firestone Graham Foundation; reviewed in New York Times and Newark Star-Ledger]

Curatorial adviser

--Shahzia Sikander (2014-2015; art commission for Economics and International Programs Building, Princeton University)

--Ursula von Rydingsvard (2013-2015, art commission for Andlinger Center on Energy and the Environment, Princeton University)

In-house exhibition curator

--Lee Bontecou: Drawn Worlds (summer 2014, organized by The Menil Collection; reviewed in New York Times)

--Fertile Crescent: Gender, Art, and Society in the Middle East (fall 2012, organized by the Institute for Women and Art, Rutgers University; reviewed in New York Times and Art in America)

--Kurt Schwitters: Color and Collage (spring 2011, organized by The Menil Collection; Princeton venue reviewed in New York Times, Newark StarLedger, and Philadelphia Inquirer)

Special programming

--Sarah Lee Elson, Class of 1984, International Artist in Residence Program (Emre Hüner, fall 2010; Thomas Hirschhorn, fall 2011; Goshka Macuga, spring 2013; El Anatsui, spring 2015)

--Robert Rauschenberg Foundation: Loan Bank Program (2013-2015)

Princeton University Art Museum (Dec. 2007–June 2010)
Locks Curatorial Fellow for Contemporary Art

Curator

--From Polygons to Printmaking: The Work of Frank Stella, 1958-1997 (spring 2008)

Co-curator

--Body Memory (with Joel Smith, fall 2008; critic’s pick, Artforum.com) Curatorial advisor

--Odili Donald Odita (summer 2009, art commission for Butler Commons, Princeton University)

In-house exhibition curator

--Jasper Johns: Light Bulb (fall 2008, organized by the Museum of Contemporary Art San Diego)

Blanton Museum of Art, The University of Texas at Austin (Nov. 2002–Dec. 2007)
Assistant Curator; Department of American and Contemporary Art

Curator

--Transactions (fall 2007)

--WorkSpace 05: Jedediah Caesar (spring 2007)

--Sketches, Plans, and Proposals (spring 2007)

--Kiefer in Context: German Works on Paper from the 1960s and 1970s (spring 2007)

--WorkSpace 02: Carol Bove (summer 2006)

--Projections: Contemporary Video and Film (2002–2003)

Co-curator

--Moving through Color, 1965-1977 (with Cecilia Brunson, fall 2004)

Assisted

--America/Americas (spring 2006)

--New, Now, Next: The Contemporary Blanton (spring 2006)

--Visualizing Identity: Jesse Amado, Radcliffe Bailey, Glenn Ligon, and Byron Kim (fall 2003)

--Transgressive Women: Lee Lozano, Yayoi Kusama, Ana Mendieta, and Joan Semmel (fall 2003)

Museum of Fine Arts, Houston (Aug. 2000–Oct. 2002)
Curatorial Assistant; Department of Modern and Contemporary Art

Major Exhibitions
Delirious: Art at the Limits of Reason, 1950-1980 is what Kelly herself referred to as one of her most rewarding exhibitions. With a focus on highlighting a diverse group of over 60 artists from that period of time. This exhibition calls the viewers attention to a slew of political, social, and personal issues which each artist grapples with. The basis of this exhibition being that "Delirious times call for delirious art" as Baum wrote in the first few sentences of  her essay, "Think Crazy".

The exhibition in its entirety was categorized into four different kinds of delirium: Vertigo, in which you will find "paintings, sculptures, photographs, and drawings that distort space and perception." Excess, where one will find "works of art that repeat, obsessively and compulsively." Nonsense, which focuses on language and art "that reduces language to gibberish or nonsense." Finally there is Twisted, which was a subtle nod to one piece that was in the show, Dara Birnbaum's video Chaired Anxieties: Slewed. "'To slew' means to turn or twist violently, and that's exactly what the artists in this section do to the human body." The purpose of this exhibition's focus on postwar art was to depict that the "irrational" was and is not solely found in the consciously understood definition that we tend to associate with, as Baum states, "psychedelic posters, hippies, drug use, or late surrealism". As the curator of this show, Kelly wanted to invite the viewer to contemplate the idea that irrationality exists even in art that is objectively seen as "rational" like geometric patterns or system-based art. Over 30% of the pieces in this exhibition were already found in the MET's collection, another one of Baum's goals during this show was to utilize the collection as an example that what one may understand as "rational" art could fit into irrationality as well. This exhibition was to act as a thought-piece for our present social and political situation as well. Baum chooses not to discuss which "time" she is referring to when she says "Delirious times call for delirious art" because she sees the parallels that exists between today's political unrest and the political unrest of the 50's, 60's and 70's depicted in the artwork in this exhibition.

Odyssey: Jack Whitten Sculpture, 1963-2010 is another one of Baum's most rewarding shows. Baum co-curated this show which presented the "previously unknown sculptures of acclaimed American artist Jack Whitten (1939–2018), who has long been celebrated for his work as an innovative abstract painter." The show featured 40 sculptures and 18 of his most significant paintings, and was accompanied by African, Cycladic, and Minoan works which inspired Whitten's vision of exploration into the complex historical contexts intertwined within his work. "Whitten’s sculptures address themes of place, memory, family, and migration. They also give expression to a transnational, cosmopolitan perspective—one that reflects the geography of Whitten’s life and of the African diaspora as a whole." Whitten was intrigued by the past, and used ancient-themed textures and materials to create his sculptures and paintings, as well as allow the viewer insight into Whitten's past and the past of his many heroes, such as Malcolm X.

Board Service: Spring 2019-present
Board of Advisers, Whitman-Walker Cultural Center, Washington, D.C.

Juries
Spring 2017 Juror, 100th Annual Greenwich Art Society Members Exhibition

Winter 2016 Juror, 91st Annual International Competition, The Print Center, Philadelphia, PA

November 2016 Juror, The Robert de Niro Sr. Prize for Outstanding Mid-Career American Painter

November 2015 Juror, The Robert de Niro Sr. Prize for Outstanding Mid-Career American Painter

December 2014 Juror, University of Wyoming Art Museum Annual Student Exhibition

May 2014 Juror, Members’ Musing, Grounds for Sculpture

May 2014 Juror, Ellarslie Open XXXI, Trenton City Museum at Ellarslie

December 2012 Juror, West Windsor Art Council Member Show

February 2012 Juror, New Jersey Fine Arts Annual (New Media, New Forms), Montclair Art Museum

October 2011 Juror, Annual Works on Paper Exhibition, Perkins Art Center, New Jersey

2009-2011 Exhibition committee, Princeton Arts Council

Literature
“A Seat at the Table: Henry Geldzahler and Lowery Stokes Sims,” in Making the Met: The Museum at 150 Years (working title) (forthcoming spring 2021)

“Papers: The Work of Emma Nishimura and Tahir Carl Karmali,” in Paper Borders: The Work of Emma Nishimura and Tahir Carl Karmali (New York: International Center for Prints, 2019) (forthcoming)

“Continental Drift: The Sculptures of Jack Whitten.” In Odyssey: Jack Whitten Sculpture, 1963-2017, ed. Katy Siegel (Baltimore, MD: Baltimore Museum of Art, 2018).

“Mona Hatoum: States of Insecurity.” In Ayşe Erkmen & Mona Hatoum: Displacements, ed. Frédéric Bußmann (Museum of Fine Arts Leipzig, 2017).

“Herland,” in Angela Fraliegh: Between Tongue and Teeth (Everson Museum of Art, 2016).

“Earthkeeping, Earthshaking: Ecofeminism Today,” in Critical Landscapes: Art and the Politics of Land Use, eds. Emily Eliza Scott and Kirsten Swenson (UC Press, 2015).

“Chaïm Soutine,” in The Henry and Rose Pearlman Collection (Princeton University Art Museum, 2014).

Contributor, Princeton University Art Museum: Handbook of the Collections, 2nd edition (2013).

“Art, Precarity, Biopolitics,” in Fertile Crescent: Gender, Art, and Society, eds. Judith Brodsky and Ferris Olin (Rutgers University, Institute for Women and Art, 2012). [Featured in the 2012 New York Times Art

Book Gift Guide.]

“Revolve Relate Return Repeat,” Heather L. Johnson: Suck Squeeze Bang Blow (New York: Kesting/Ray, 2012).

“Kirk Hayes: Treachery of Images,” Kirk Hayes (Conduit Gallery, 2011).

“From Banality, Beauty,” in Keith Crowley (Bridgette Mayer Gallery, 2010).

“From Lifting to Gifting: Misappropriation as Redistribution,” in Lifting: Theft in Art, ed. Gavin Morrison and Fraser Stables (Atopia Projects, Peacock Visual Arts, and The Art Galleries at Texas

Christian University, 2009).

“Civilization and Its Discontents: The Case of Seth Alverson,” in The Okay Mountain Reader, ed. Peat Duggins (Okay Mountain, 2008).

“ThingsinMotion,” in Conrad Bakker: Objects and Economies, ed. Patricia Hickson (Des Moines Art Center, 2007).

Co-editor, with Annette DiMeo Carlozzi, of Blanton Museum of Art: American Art since 1900 (Blanton Museum of Art, 2006). Contributed catalogue essays on Janine Antoni, Thomas Hart Benton, Rachel

Harrison, Al Held, Oliver Herring, Kenneth Noland, Robyn O’Neil, and Amy Sillman.

“José Toirac,” in Blanton Museum of Art: Latin American Collection, ed. Gabriel Pérez-Barreiro (Blanton Museum of Art, 2006).

Contributor to American Art at the Flint Institute of Arts (Flint Institute of Arts, 2003).