Anthony Elms, 2014 Whitney Biennial Co-Curator, Named Chief Curator at ICA Philadelphia

Anthony Elms, Alex Klein, and Kate Kraczon. Photo: Constance Mensh, courtesy of the Institute of Contemporary Art, Philadelphia.

Anthony Elms, Alex Klein, and Kate Kraczon.
Photo: Constance Mensh, courtesy of the Institute of Contemporary Art, Philadelphia.

It’s official: Anthony Elms, one of the three curators of the 2014 Whitney Biennial, has ascended to the chief curator post at the Institute of Contemporary Art (ICA) in Philadelphia. He replaces Ingrid Schaffner, who left in March to organize the 57th Carnegie International, at Pittsburgh’s Carnegie Museum of Art, after 15 years at ICA.

Taking Elms’ old spot as associate curator, in which he served since 2011, is Kate Kraczon, who has worked on various projects at ICA since 2008. Kraczon is now working on shows devoted to Becky Suss and to the collaborative practice of Angel Nevarez and Valerie Tevere.

Also getting a title change today is Alex Klein, who has been program curator, and is henceforth curator. Among her projects is “Barbara Kasten: Stages” (on view through August 16).

Elms worked with artist Zoe Leonard on her contribution to the Whitney Biennial, a room-sized camera obscura titled 945 Madison Avenue, which won her the $100,000 Bucksbaum Award, given to one artist in the show every Biennial since 2000. The second floor, which Elms organized (the other curators were Stuart Comer and Michelle Grabner; each got a floor) also included works by Terry Adkins, Elijah Burgher, My Barbarian, Susan Howe, Charlemagne Palestine, Allan Sekula, and others.

At the ICA, Elms organized “White Petals Surround Your Yellow Heart” (2013), which included artists working with themes of clothing and adornment, such as Lynda Benglis, Karen Kilimnik, Zoe Leonard, Paulina Olowska, and Frances Stark. He’s currently at work with writer Hilton Als on a show of American poet and painter Christopher Knowles, who is represented in New York by Gavin Brown’s enterprise.

For more on Elms, see:

Critical Reduction: The 2014 Whitney Biennial

“Curating the Whitney Biennial Is Not a Fair and Equitable Process”

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