Catherine Morris
Catherine Morris is the Sackler Senior Curator for the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum where, since 2009, she has curated and co-curated numerous exhibitions including Lorraine O’Grady: Both/And, We Wanted a Revolution: Black Radical Women, 1965-1985; Judith Scott-Bound and Unbound; and Materializing Six Years: Lucy R. Lippard and the Emergence of Conceptual Art. She has worked on projects examining contemporary practices through historical precedents, including the museum wide Sackler Center ten-year anniversary project, The Year of Yes: Reimagining Feminism at the Brooklyn Museum and two collection based exhibitions Out of Place: A Feminist Look at the Collection and Half the Picture: A Feminist Look at the Collection.
She has worked on exhibitions and curatorial projects with Cecilia Vicuna, Ahmed Mater, Beverly Buchanan, Marilyn Minter, Zanele Muholi, Suzanne Lacy, Matthew Buckingham, Lorna Simpson, Eva Hesse, Kiki Smith, and Rachel Kneebone and produced historical exhibitions such as Twice Militant: Lorraine Hansberry’s Letters to The Ladder, Newspaper Fiction: The New York Journalism of Djuna Barnes, 1913-1919, and Healing the Wounds of War: The Brooklyn Sanity Fair of 1864. Morris was a curatorial organizer for the Brooklyn Museum presentations of Frida Kahlo: Appearances Can Be Deceiving, Radical Women: Latin American Art, 1960-1985, and Seductive Subversions: Women Pop Artists, 1958-1968. Upcoming projects include a monographic exhibition, Elizabeth Catlett: A Revolutionary Artist and All That It Implies, as well a multi-part project addressing Mass Incarceration and the visual arts.
Previously an independent curator, Morris organized, among other projects, Decoys, Complexes and Triggers: Women and Land Art in the 1970s at Sculpture Center, Hans Hoffman, 1950 at the Rose Museum at Brandeis University; 9 Evenings Reconsidered: Art, Theatre and Engineering, 1966 for the List Visual Arts Center, MIT, Cambridge, Massachusetts; two exhibitions, Gloria: Another Look at Feminist Art of the 1970s and Food at White Columns, New York and Confrontations: The Guerrilla Art Action Group, at Printed Matter, New York.
