Daisy Nam Tapped to Lead Ballroom Marfa
Daisy Nam, who arrived to Ballroom Marfa as a curator in 2020, will take over as govt director of the noncollecting Texas artwork establishment, The Art Newspaper reviews. The put up is being vacated by Laura Copelin, who had occupied the place since 2019. Nam, who will proceed to function curator as effectively, will step into her new function instantly.
I’m devoted to supporting what the artists want, whether or not that’s area or analysis or connecting them with different folks to create a physique of labor that we present right here earlier than it strikes out into the world,” stated Nam, who solid Ballroom Marfa’s temporary as “increasing the attain of artists, permitting them to have several types of audiences and totally different experiences with different establishments. How will we construct networks and construct relationships with establishments which can be much like ours, or on a primary stage how can we pool sources to help artists and envision the way forward for what they need to make?”
Earlier than coming to Marfa, Nam since 2015 served because the assistant director of the Carpenter Heart for the Visible Arts at Harvard College, throughout which period she curated exhibitions by artists together with Basma Alsharif, Martin Beck, Matt Keegan, Renée Inexperienced, Michelle Lopez, Will Rawls, and Kerry Tribe. Previous to her tenure there, she was held the function of assistant director of public applications at Columbia College’s Faculty of the Arts, through which capability she organized and produced seven seasons of talks, screenings, performances, and workshops by Charles Atlas, Tania Bruguera, Nancy Holt, Isaac Julien, Ralph Lemon, Jill Magid, Aki Sasamoto, and Allan Sekula. She earlier labored on fundraising initiatives for the Solomon R. Guggenheim Museum in New York.
Established in 2002 as a nonprofit, Ballroom Marfa celebrates its twentieth anniversary this yr. “What artists create right here, they wouldn’t have the ability to do in studios or artwork venues in greater cities,” stated Nam, referring to Marfa’s tiny dimension (the city’s inhabitants hovers at beneath 2000) and to the humanities group’s coverage of returning works to the artist freely following their show. “I believe the nexus of the place Ballroom is—bodily, geographically, culturally—can actually assist artists push their practices in ways in which a white dice can’t. It’s an artwork city in fact, however there’s a lot extra to it that’s actually particular,” Nam says. “We would like artists to take that have with them.”
