Contact

Lucy Skaer is an artist based in Glasgow.

GRIMM Gallery
Van Baerlestraat 80, 1071 ZP Amsterdam, The Netherlands
info@grimmgallery.com

Peter Freeman, Inc.
140 Grand Street
(Ground Floor, between Crosby and Lafayette)
New York, New York 10013
info@peterfreemaninc.com

Annotators

Stephanie Straine (2020)

Stephanie Straine is Senior Curator, Modern and Contemporary Art at the National Galleries of Scotland, Edinburgh. Previously she was Curator of Exhibitions and Projects at Modern Art Oxford, where from 2016 to 2019 she realised solo exhibitions of artists including Rose Finn-Kelcey, Lubaina Himid, Cinthia Marcelle, Aleksandra Mir, Nicolas Party, Hannah Ryggen and Johanna Unzueta, as well as a group show of contemporary drawing in collaboration with Drawing Room, London. From 2012 to 2016 she was Assistant Curator, Exhibitions and Displays at Tate Liverpool, and previously worked as Exhibitions Organiser at The Fruitmarket Gallery, Edinburgh, from 2006 to 2009. She holds a joint MA Fine Art degree from the University of Edinburgh and Edinburgh College of Art, an MLitt from the University of Glasgow and a PhD in the history of art from University College London, funded by an AHRC Collaborative Doctoral Award in partnership with Tate. She publishes widely on modern and contemporary art, with a focus on artists working with drawing.

Stacy Boldrick (2020)

Stacy Boldrick is a lecturer and the Programme Director for the MA in Art Museum and Gallery Studies in the School of Museum Studies at the University of Leicester, after working at The Fruitmarket Gallery, Edinburgh, the University of Edinburgh and the Henry Moore Institute, Leeds. Curatorial collaborations include Wonder: Painted Sculpture from Medieval England (Henry Moore Institute, with David Park and Paul Williamson, 2002) and Art under Attack: Histories of British Iconoclasm (Tate Britain, with Tabitha Barber, 2013). Edited volumes include Iconoclasm: Contested Objects, Contested Terms (with Richard Clay; Ashgate/Routledge 2007) and Striking Images (Richard Clay and Leslie Brubaker; Ashgate/Routledge, 2013). Research into the long history of iconoclasm or image breaking (the deliberate defacing, dismantling or destruction of works of art and historic artefacts) and its significance for social groups and institutions, from medieval iconoclasm in Yorkshire to the removal of confederate statues in Memphis is the subject of her book Iconoclasm and the Museum (Routledge, 2020).

Will Holder (2020)

Typographer Will Holder edits and publishes F.R.DAVID, since 2007, a journal concerned with the organisation of reading & writing in the arts (co-published with KW, Berlin). He makes books with artists, musicians and certain institutions – driven by relations between speech, recounting and accounting, on and off the printed page. As often as he can, Will says “Typography is the organisation of language in relation to things.”; and his path includes extracts from Rosmarie Waldrop, Lawn of Excluded Middle, originally published in 1993 by Tender Buttons books.

Ingrid Schaffner (2020)

Ingrid Schaffner is an American curator and writer, whose work coalesces around themes of archiving and collecting, photography, feminism, and alternate modernisms. As curator of the 2018 Carnegie International, at the Carnegie Museum of Art in Pittsburgh, Schaffner presented major installations by artists and collectives, including El Anatsui, Alex Da Corte, Zoe Leonard, Postcommodity, and Lynette Yiadom-Boakye, along with “Dig Where You Stand,” a new look at the museum’s permanent collections by Koyo Kouoh, all within an overarching ethos of “Museum Joy.”

Her belief that writing about art should be lively and engaging as well as acutely researched informs her many publications, including: Deep Storage: Collecting, Storing, and Archiving in Art (Prestel) and Julien Levy: Portrait of an Art Gallery (MIT Press). She is co-authoring a history of Skowhegan, the summer art program in Maine, founded by artists for artists in 1946. Ingrid Schaffner has recently assumed the newly created position of Curator at The Chinati Foundation, where she will oversee the museum’s permanent collection, exhibitions, residency program, publications, and scholarship.

Colophon

Design: Sasha Portis
Development: Joseph Pleass