Madeline Murphy Turner is an art historian and curator based between New York and Buenos Aires. Her research focuses on contemporary art from Latin America, with a special interest in topics of ecology, women artists, performance, and the other-than-human. She is a Ph.D. Candidate at the Institute of Fine Arts, New York University, where she is finishing a dissertation on artists’ books, mail art, and experimental theater by a network of women artists in 1970s and ‘80s Mexico City. She is currently a research participant in the Getty Foundation Connecting Art Histories program “Narrating Art and Feminisms: Eastern Europe and Latin America.” From 2019 to 2022 she was the Cisneros Institute Research Fellow at the Museum of Modern Art, New York, and from 2017 to 2018 the Graduate Curatorial Assistant at the Grey Art Gallery. At New York University, she has taught a number of courses on modern and contemporary art. Madeline has also written exhibition catalog essays for Marlborough Gallery and published texts in Burlington Contemporary, Brooklyn Rail, Damn Magazine, Hyperallergic, Art Margins Online, AWARE Magazine, post: notes on art in a global context, MoMA Magazine, and in the 2020 Mercosul Biennial publication Against the Canon: Art, Feminism(s) and Activisms, XVIII to XXI Centuries.
Hinged on the transversal as a means to engage with and envision new networks and ways of thinking about modern and contemporary art, the 2021 C-MAP seminar series offered an exploration and interrogation of the intertwining of multiple coeval life-worlds through concepts of “extending across.” Included here are abstracts and recordings of the four panels held on Zoom on June 2, 3, 9, and 10.
To uncomplicatedly enunciate and hyphenate the manifold concentrations of Daniel Lie’s practice would be to miss the artist’s durational engagement with their complexities. Intimately coiled, these lifelong preoccupations are at the heart of the artist’s experience of the world.
In this interview, Mexican-born, Brooklyn-based artist Laura Anderson Barbata highlights the importance of reciprocity and shared knowledge in her community-based, trans-disciplinary practice.
Alejandro Paz Navas’s The Bodyguard is a testament to a generation of artists who mobilized conceptual performances in public spaces to respond to the socio-economic changes in postwar Guatemala.
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