Jack Flam has been a member of the Board of Directors of the Dedalus Foundation since 1991, and has been President and CEO since 2002. He is Distinguished Professor Emeritus of Art and Art History at Brooklyn College and The Graduate Center of the City University of New York, and is the author of numerous books, catalogues, and articles on various aspects of nineteenth and twentieth-century European and American art, and on African art. He has organized exhibitions in major European and American museums, and has lectured extensively at museums and universities throughout the world.
His books include: Matisse: the Man and His Art, 1869-1918 (1986); Motherwell (1991); Richard Diebenkorn: Ocean Park (1992); Matisse: The Dance (1993); Western Artists/ African Art (1994); Matisse on Art (revised edition, 1995); Robert Smithson: The Collected Writings (1996); Judith Rothschild: An Artist’s Search (1998); Les peintures de Picasso: un théâtre mental (1998). Matisse in the Cone Collection: The Poetics of Vision (2001); Matisse and Picasso: The Story of Their Rivalry and Friendship (2003); Primitivism and Twentieth-Century Art: A Documentary History (2003); Manet: Un bar aux Folies- Bergère ou l’abysse du miroir (2005); Matisse in Transition: Around Laurette (2006); he is co-author of Robert Motherwell Paintings and Collages: A Catalogue Raisonné, 1941-1991, published in 2012, and of Robert Motherwell: 100 Years, published in 2015. Co-author with Katy Rogers and Tim Clifford.
He has published articles and reviews on subjects ranging from the Renaissance to contemporary art in in numerous journals, including African Arts, American Heritage, Apollo, Art Bulletin, Artforum, Art in America, Art Journal, ArtNews, Arts Magazine, Connaissance des Arts, Connoisseur, Journal de la Société des Africanistes, Journal of African Studies, Les Cahiers du Musée National d’Art Moderne, Source, Storia dell’Arte, and The New York Review of Books. From 1984 to 1992, he was art critic of The Wall Street Journal and in 1987 he won the Manufacturers Hanover/ Art World prize for distinguished newspaper art criticism.
In 1981 he was chosen by Robert Motherwell to be series co-editor of “The Documents of Twentieth- Century Art,” and he has continued to edit the series, which is now published by the University of California Press.
A magna cum laude graduate of Brown University and the School of the Art Institute of Chicago, where he received an MFA in painting, Morgan Spangle has been involved in the art world for over thirty years. Morgan began his career as an art dealer at the Richard Gray Gallery in Chicago. In 1984, Morgan moved to New York City where he was a Director of Leo Castelli Gallery and helped organize over 100 exhibitions of works by artists such as Jasper Johns, Donald Judd, Dan Flavin, and Roy Lichtenstein. In the 1990s, Morgan founded RubinSpangle Gallery; subsequently, he was a Vice President in the Contemporary Art Department at Christie’s auction house; founded an internet art sales company (the eArt Group), and was a private art dealer after leaving Christie’s. In 2002, Morgan joined the Dedalus Foundation as Executive Director, and was elected as a Director and Treasurer, in 2003.
John Elderfield is an independent curator and art historian, a consultant to the Gagosian Gallery, senior adviser to Artsy, and Chief Curator Emeritus of Painting and Sculpture at The Museum of Modern Art, New York, where he directed more than twenty exhibitions, with accompanying book-length catalogues, including Fauvism and its Affinities (1976), Matisse in the Collection of The Museum of Modern Art (1978), The Modern Drawing (1983), The Drawings of Henri Matisse (1984), Kurt Schwitters (1985), Morris Louis (1986), The Drawings of Richard Diebenkorn (1989), Henri Matisse: A Retrospective (1992), Bonnard (1998), Modern Starts (2000), Manet and the Execution of Maximilian (2006), Armando Reverón (2007), Martin Puryear (2007), Matisse: Radical Invention, 1913-17 (2010), and De Kooning: A Retrospective (2011). His most recent exhibition is Painted on 21st Street: Helen Frankenthaler from 1950 to 1959 (Gagosian Gallery, 2013).
He earned B.A. and M.Phil. degrees from the University of Leeds and a Ph.D. from the Courtauld Institute of Art, London University, and has been awarded a Harkness Fellowship, a John Simon Guggenheim Memorial Fellowship, and the first Mitchell Prize for a book on twentieth-century art. As Chief Curator of Painting and Sculpture at The Museum of Modern Art, he was responsible for acquisitions to that collection, and its reinstallation in 2004 in its newly rebuilt premises. In addition to his exhibition catalogues, he was Editor-in-Chief of the series, Studies in Modern Art (1991-2004), has published books on Hugo Ball (1974/1996), Helen Frankenthaler (1988), and Pierre-Paul Prud’hon (1997), among others; some seventy-five articles on modern art and related subjects; and he lectures widely.
Among his recent affiliations and awards, he has been a Visiting Fellow at the Getty Research Institute in Los Angeles (2001); an Associate Fellow at the American Academy in Rome (2006); named by Time magazine as one of the 100 Most Influential People of the Year (2005); was made Officier dans l’Ordre des Arts et des Lettres by the French Government (2006); and awarded an honorary D. Litt. from the University of Leeds (2008). He serves on the board of the Dedalus Foundation, the Members’ Board of the Phillips Collection, Washington, D.C, the American Advisory Committee of the Courtauld Institute of Art, the American Committee of the Premium Imperiale Prize, the Advisory Committee of the Kate Weare Dance company, and the Art Advisory Council of the International Foundation for Art Research; is an Honorary Member of Proyecto Armando Reverón, Caracas, and a member of the Honorary Committee of the Kurt Schwitters Society; and is a member of the International Association of Art Critics, and of the Association of Literary Scholars, Critics, and Writers.
Pamela Auchincloss has been a professional in the visual arts field for over 30 years, starting with the Pamela Auchincloss Gallery in Santa Barbara, California, at the age of 23. Her career has included engagements in the commercial, institutional, not-for-profit, and corporate sectors alongside community services, education, and art-related board participation.
Following seven years in California, Ms. Auchincloss moved her gallery to New York City. In 1995 her business shifted to Chelsea and was reorganized as a curatorial services company, Arts Management Services, which organized over 60 exhibitions that traveled to museums and arts related venues throughout the United States. In 2004, she was recruited by David Ross to help launch the Artist Pension Trust (APT), where she consulted for eight years as the Managing Director of Global Operations and then served as CEO. Currently she advises APT on strategic planning and the art collection portfolio,and as Curator at Large. Recently she founded ELEVEN+, a curatorial organization which draws on the expertise, knowledge, and networks of eleven contemporary curators and arts administrators from around the world.
She has served on the boards of the University of California, Pratt Institute, Danspace Project, Housing Works, and Grow NYC, a mayoral appointment.
Katy Rogers is the Programs Director of the Dedalus Foundation. She joined the Robert Motherwell Catalogue Raisonné project in 2003, became the project manager in 2005, and then director in 2013. She is the co-author of the catalogue raisonné of Motherwell’s paintings and collages, which was published by Yale University Press in 2012.
From 2009-2015, she was the manager of the Donald Judd Catalogue Raisonné project, under the aegis of Judd Foundation.
A graduate of the University of Colorado, she received her M.A. in Art History from Hunter College. She is an alumna of the Whitney Museum of American Art’s Independent Study Program (ISP) where she was a Helena Rubinstein Curatorial Fellow. While at the ISP she co-curated the exhibition Image War: Contesting Images of Political Conflict (2006). She has written catalogue essays and articles published by El Museo del Barrio, Hunter College Art Galleries, among others. She has been a speaker on panels regarding research and legacy at the Museum of Modern Art and the Appraiser’s Association of America.
In 2013, she became the President of the Catalogue Raisonné Scholars Association.