Mission

The Patricia Phelps de Cisneros Research Institute for the Study of Art from Latin America was established by The Museum of Modern Art in 2016 thanks to the vision and generosity of Gustavo A. Cisneros and Patricia Phelps de Cisneros.

The Cisneros Institute aspires to become a vital platform for the arts of Latin America by fostering critical thinking across borders. Through its programs and publications, it aims to stimulate, support, and disseminate new research on modern and contemporary art of Latin America and its role as an integral part of global culture. It also seeks to promote the multiple perspectives of artists and scholars from Latin America by engaging in an international dialogue.

As part of The Museum of Modern Art, the Institute is committed to strengthening the Museum’s longstanding commitment with Latin America through rigorous and experimental research into MoMA’s Latin American holdings and meaningful collaborations with artists, art historians, critics, curators, and other cultural institutions.


El Instituto de investigación Patricia Phelps de Cisneros para el estudio del arte de América Latina fue fundado por The Museum of Modern Art en 2016, gracias a la visión y generosidad de Gustavo A. Cisneros y Patricia Phelps de Cisneros.

El Instituto Cisneros aspira a convertirse en una importante plataforma para el arte de América Latina al fomentar el pensamiento crítico a través de las fronteras. Desde sus programas y publicaciones busca estimular, apoyar y diseminar nuevos acercamientos al arte moderno y contemporáneo de América Latina y su rol como una parte integral de la cultura global. Busca además, promover la multiplicidad de perspectivas de artistas y académicos de América Latina, al potenciar el intercambio de ideas a nivel internacional.

Como parte de The Museum of Modern Art, el Instituto busca fortalecer el compromiso histórico del Museo con Latinoamérica a partir de investigaciones rigurosas y experimentales de su colección, así como del establecimiento de colaboraciones con artistas, historiadores del arte, críticos, curadores, e instituciones de la región.

Founders

Gustavo A. Cisneros
Patricia Phelps de Cisneros

Advisory Board

Adriana Cisneros Phelps de Griffin
Stuart Comer
Thomas B. F. Cummins
Mimi Haas
Jay A. Levenson
Harper Montgomery
Gabriel Pérez-Barreiro

Advisor bios

Adriana Cisneros Phelps de Griffin

Dixon Gonzalez

Adriana Cisneros is CEO of Cisneros, a privately held company with over 90 years of experience operating businesses globally. The company today has three divisions: Cisneros Media, Cisneros Interactive, and Cisneros Real Estate. She is president of the Fundación Cisneros, a nonprofit organization dedicated to improving access to education in Latin America. She is on the board of MoMA’s Latin American Acquisitions Committee (LACF), a board member of Endeavor Miami, and a director and trustee of the Paley Center for Media. She is also a board member of Mattel, Inc., Parrot Analytics, the Knight Foundation, and University of Miami. Adriana is a member of the Citibank Private Bank Latin American Advisory Board as well as an Advisory Board member of Wyncode and TheVentureCity, and she was recently appointed as head of strategy for AST & Science.

She holds a BA from Columbia University (2002) and an MA in journalism from New York University (2005). Cisneros is a Henry Crown Fellow, a term member at the Council of Foreign Relations, and is a graduate of Harvard Business School’s 2010 Program for Leadership Development.

Stuart Comer

Photo: Daniel Terna/Light Industry

Stuart Comer is the Lonti Ebers Chief Curator of Media and Performance at The Museum of Modern Art. He oversees the Department of Media and Performance collection and program of exhibitions, events, and acquisitions, as well as the Marie-Josée and Henry Kravis Studio. Since his appointment, Comer’s projects at MoMA have included member: Pope.L, 1978–2001 (2019), Haegue Yang: Handles (2019), Tania Bruguera: Untitled (Havana, 2000) (2018), Inbox: Steve McQueen (2017), Inbox: Charles Atlas (2017), Alexandra Bachzetsis’s Massacre: Variations on a Theme (2017), Mark Leckey: Containers and Their Drivers (at MoMA PS1, 2016), BRUCE CONNER: IT’S ALL TRUE (2016), Tony Oursler: Imponderable (2016), Bouchra Khalili: The Mapping Journey Project (2016), Transmissions: Art in Eastern Europe and Latin America, 1960–1980 (2015), Juliana Huxtable: There Are Certain Facts that Cannot Be Disputed (2015), Cut to Swipe (2014), and Simone Forti and Charlemagne Palestine: illlummminnnatttionnnsssss!!!!!!! (2014). He was the first curator of Film at Tate from 2004 to 2013 and he co-curated the 2014 Biennial at the Whitney Museum of American Art.

Tom Cummins

Photo: Roberto Rojas

Tom Cummins is Dumbarton Oaks Professor of the History of Pre-Columbian and Colonial Art in the Department of the History of Art and Architecture at Harvard University and a member of the American Academy of Art and Science. He taught for 11 years at the University of Chicago, where he was the director of the Center of Latin American Studies. He was also the acting director of the David Rockefeller Center for Latin American Studies at Harvard University. He has lived and taught in France (L’Ecole des Hautes Etudes en Science Sociales, Paris), Argentina (La Universidad de Buenos Aires), Colombia (La Universidad de los Andes, Bogotá), Ecuador (FLACSO. Quito), Chile (La Universidad de Choile, Santiago and the university of Chile), and Peru (La Católica). He was awarded the Katherine Singer Kovacs Prize for an outstanding book by the Modern Language Association in 2014, and the Bryce Wood Book Award to the outstanding book on Latin America in the social sciences and humanities published in English, awarded by the Latin American Studies Association, in 2013. He is the coeditor, with Steve Koisiba and John Janusek, of Sacred Matters: Animsim and Auhtority in the Pre-Columbian Americas. In 2011 he was awarded La Orden “Al Mérito por Servicios Distinguidos” en el Grado de Gran Cruz by the Republic of Peru.

He is also the codirector of Conceptual Stumblings, funded in part by Chile’s National Council for Scientific and Technological Research (CONICYT) and the Ministry of the Economy. He is the director of the Arts at Doctor class, which brings artists, writers, scholars, performances, and exhibitions to Harvard. He is a member of the Executive Committee of Dumbarton Oaks (Washington DC), I Tatti (Florence).

Mimi Haas

Mimi Haas is president of the Mimi and Peter Haas Fund, a position she has held since August of 1981. She is the vice chair of the Board of Trustees, chair of the Compensation Committee, and chair of the Governance Committee of The Museum of Modern Art; vice chair of the San Francisco Museum of Modern Art; and a member of the boards of directors of Lincoln Center for the Performing Arts and the Shed. She is also a member of the National Advisory Board of the Haas Center for Public Service at Stanford University, a member of the Council on Foreign Relations, and a member of the Global Philanthropists Circle. Haas was a fellow at the Stanford Distinguished Careers Institute. She previously served on the board of Levi Strauss & Co for two separate terms (2004–06, 2014–18), the Terry Sanford Institute for Public Policy at Duke University, the San Francisco Symphony, San Francisco University High School, Summerbridge National, and Children Now.

Harper Montgomery

Photo: Harper Montgomery

Harper Montgomery teaches in the Art and Art History Department at Hunter College in New York City. She has written for the Art Bulletin, Art Journal, and the Brooklyn Rail, and has organized exhibitions on 19th-century, 20th-century, and contemporary art for the galleries of Hunter College. Her book The Mobility of Modernism: Art and Criticism in 1920s Latin America was published in 2017 by University of Texas Press and won the Arvey Foundation Book Award for distinguished scholarship on Latin American Art. Her current research, for which she has received a Dedalus Foudation Fellowship, concerns the ascent of artesanía within contemporary art spaces in Latin America between the 1970s and the late 1980s.

Jay A. Levenson

Photo: Will Ragazino

Jay A. Levenson has served as the director of the International Program at The Museum of Modern Art since 1996, where he manages the Museum’s exchange and research programs in relation with institutions in other countries. Prior to that he was deputy director for program administration at the Solomon R. Guggenheim Museum, New York, where he helped prepare such major exhibitions as Africa: The Art of a Continent and China: 5000 Years. He has served as guest curator on a number of exhibitions, including Circa 1492: Art in the Age of Exploration (1991) and The Age of the Baroque in Portugal (1993) for the National Gallery of Art, and Encompassing the Globe: Portugal and the World in the 16th and 17th Centuries (2007) for the Arthur M. Sackler Gallery, Washington. A graduate of Yale College and Yale Law School, and holder of a PhD in art history from the Institute of Fine Arts at New York University, he has held positions as both a curator and a museum administrator, and as an attorney.

Gabriel Pérez-Barreiro

Courtesy of Fundação Bienal de São Paulo

Gabriel Pérez-Barreiro is senior advisor to the Colección Patricia Phelps de Cisneros in New York and Caracas, of which he was director and chief curator from 2008 to 2018. He was chief curator of the 33rd Bienal de São Paulo, Brazil (2018), and curator of the Brazilian pavilion at the 58th Venice Biennale (2019). He was curator of Latin American Art at the Blanton Museum of Art, University of Texas at Austin, from 2002 to 2008, and director of visual arts at the Americas Society, New York. In 2007 he was chief curator of the 6th Mercosul Biennial in Porto Alegre, Brazil. He has a PhD in art history and theory from the University of Essex and has published and lectured widely on modern and contemporary art from Latin America. He is also a member of the Esthetical Society for Transcendental and Applied Realization.


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Adriana Cisneros es CEO de Cisneros, una compañía privada con más de 90 años de experiencia en gestión empresarial alrededor del mundo. La compañía tiene hoy tres divisiones: Cisneros Media, Cisneros Interactive y Cisneros Real Estate. Adriana es presidenta de la Fundación Cisneros, una organización sin fines de lucro dedicada a mejorar el acceso a la educación en América Latina. Integra la junta del Latin American Acquisitions Committee [Comité de adquisiciones latinoamericanas] (LACF) del MoMA, es miembro de la junta de Endeavour Miami, y una directora y fideicomisaria del Paley Center for Media. También es miembro de la junta de Mattel, Inc., Parrot Analytics, Knight Foundation y la University of Miami. Forma parte de la Junta Asesora Latinoamericana del Citibank Private Bank, así como de la Junta Asesora de Wyncode y TheVentureCity. Hace poco fue nombrada jefa de estrategia de AST & Science.

Es Licenciada por la Columbia University (2002) y tiene una maestría en periodismo de la New York University (2005). Cisneros es una Henry Crown Fellow y una miembro temporaria del Council of Foreign Relations. Es graduada del Programa 2010 para el Desarrollo del Liderazgo de la Harvard Business School.

Stuart Comer es el curador en jefe Lonti Ebers de Media and Performance [Medios y Performance] en The Museum of Modern Art. Supervisa la colección y el programa de exposiciones, eventos y adquisiciones del Departamento, así como el Marie-Josée y Henry Kravis Studio. Los proyectos que llevó adelante en MoMA desde su nombramiento incluyen member: Pope.L, 1978–2001 [miembro: Pope.L, 1978–2001] (2019), Haegue Yang: Handles [Haegue Yang: Asas] (2019), Tania Bruguera: Untitled (Havana, 2000) [Tania Bruguera: Sin título (La Habana, 2000)] (2018), Inbox: Steve McQueen [Bandeja de entrada: Steve McQueen] (2017 ), Inbox: Charles Atlas [Bandeja de entrada: Charles Atlas] (2017), Alexandra Bachzetsis’s Massacre: Variations on a Theme [Masacre: variaciones sobre un tema de Alexandra Bachzetsis] (2017), Mark Leckey: Containers and Their Drivers [Mark Leckey: Contenedores y sus conductores] (en MoMA PS1, 2016), BRUCE CONNER: IT’S ALL TRUE [BRUCE CONNER: ES TODO CIERTO] (2016), Tony Oursler: Imponderable (2016), Bouchra Khalili: The Mapping Journey Project [Bouchra Khalili: El proyecto del viaje de mapeo] (2016), Transmissions: Art in Eastern Europe and Latin America, 1960–1980 [Transmisiones: Arte en Europa del Este y América Latina, 1960–1980] (2015), Juliana Huxtable: There Are Certain Facts that Cannot Be Disputed [Juliana Huxtable: Hay ciertos hechos que no se pueden discutir] (2015), Cut to Swipe [Corte para deslizar] (2014), y Simone Forti and Charlemagne Palestine: illlummminnnatttionnnsssss!!!!!!! (2014). Stuart fue el primer curador de cine en Tate de 2004 a 2013 y el co-curador de la Bienal del Whitney Museum of American Art del 2014.

Tom Cummins es profesor Dumbarton Oaks de Historia de Arte Precolombino y Colonial en el Department of the History of Art and Architecture [Departamento de Historia del Arte y la Arquitectura] de la Harvard University y miembro de la American Academy of Art and Science. Enseñó durante 11 años en la University of Chicago, donde fue director del Center of Latin American Studies [Centro de Estudios Latinoamericanos]. También fue director interino del David Rockefeller Center for Latin American Studies [Centro David Rockefeller para Estudios Latinoamericanos] de la Harvard University. Vivió y enseñó en Francia (L’École des hautes études en sciences sociales, París), Argentina (Universidad de Buenos Aires), Colombia (Universidad de los Andes, Bogotá), Ecuador (FLACSO. Quito), Chile (Universidad de Chile, Santiago y Universidad de Chile), y Perú (Universidad Católica del Perú). Recibió el Katherine Singer Kovacs Prize al libro destacado de la Modern Language Association en 2014, y el Bryce Wood Book Award al libro destacado en ciencias sociales y humanidades de América Latina publicado en inglés, otorgado por la Latin American Studies Association, en 2013. Es el coeditor, con Steve Koisiba y John Janusek, de Sacred Matters: Animsim and Authority in the Pre-Columbian Americas [Asuntos sagrados: animismo y autoridad en las Américas precolombinas]. En 2011 fue galardonado con la Orden “Al Mérito por Servicios Distinguidos” en el Grado de Gran Cruz por la República del Perú.

También es codirector de Conceptual Stumblings [Tropiezos conceptuales], financiado en parte por la Comisión Nacional de Investigación Científica y Tecnológica (CONICYT) de Chile y el Ministerio de Economía. Es el director de la materia Arts at Doctor, que trae artistas, escritores, estudiosos, performances y exposiciones a Harvard. Es miembro del Comité Ejecutivo de Dumbarton Oaks (Washington DC) e I Tatti (Florencia).

Mimi Haas es presidenta del Mimi and Peter Haas Fund, cargo que ocupa desde agosto de 1981. Es vicepresidenta del Consejo Directivo, presidenta del Comité de Compensación y presidenta del Comité de Gobernanza de The Museum of Modern Art. Es vicepresidenta del San Francisco Museum of Modern Art; y miembro de las juntas directivas del Lincoln Center for the Performing Arts y The Shed. También es miembro de la Junta Asesora Nacional del Haas Center for Public Service en la Stanford University, del Council on Foreign Relations y del Global Philanthropists Circle. Haas fue becaria del Stanford Distinguished Careers Institute. Formó parte de la junta de Levi Strauss & Co. durante dos períodos (2004–06, 2014–18), del Terry Sanford Institute for Public Policy de la Duke University, de la San Francisco Symphony, de la San Francisco University High School, de Summerbridge National, y de Children Now.

Jay A. Levenson es el director del International Program [Programa Internacional] de The Museum of Modern Art desde 1996, donde administra los programas de intercambio e investigación del Museo con instituciones de otros países. Previamente fue subdirector de administración de programas en el Solomon R. Guggenheim Museum de Nueva York, donde colaboró en la preparación de exposiciones tan importantes como Africa: The Art of a Continent [África: El arte de un continente] y China: 5000 Years [China: 5000 años]. Se ha desempeñado como curador invitado en varias exposiciones, incluyendo Circa 1492: Art in the Age of Exploration [Circa 1492: Arte en la era de la exploración] (1991) y The Age of the Baroque in Portugal [La edad del barroco en Portugal] (1993) para la National Gallery of Art, y Encompassing the Globe: Portugal and the World in the 16th and 17th Centuries [Abarcando el globo: Portugal y el mundo en los siglos XVI y XVII] (2007) para la Arthur M. Sackler Gallery, Washington. Es graduado de Yale College y Yale Law School, y posee un doctorado en historia del arte del Institute of Fine Arts de la New York University. Ha trabajado como curador y administrador de museos, y también como abogado.

Harper Montgomery enseña en el Art and Art History Department [Departamento de Arte e Historia del Arte] en el Hunter College de la ciudad de Nueva York. Ha escrito para Art Bulletin, Art Journal y Brooklyn Rail, y ha organizado exhibiciones de arte del siglo XIX, del siglo XX, y de arte contemporáneo para las galerías del Hunter College. Su libro The Mobility of Modernism: Art and Criticism in 1920s Latin America [La movilidad del modernismo: Arte y crítica en América Latina de los años ‘20] fue publicado en 2017 por la University of Texas Press y ganó el Arvey Foundation Book Award por estudios distinguidos en arte latinoamericano. Su investigación actual, para la cual recibió una Dedalus Foudation Fellowship, se ocupa del ascenso de la artesanía dentro de los espacios de arte contemporáneo en América Latina entre los años setenta y finales de los ochenta.

Gabriel Pérez-Barreiro es asesor senior de la Colección Patricia Phelps de Cisneros en Nueva York y Caracas, de la cual fue director y curador en jefe entre 2008 y 2018. Fue curador en jefe de la 33a Bienal de São Paulo, Brasil (2018), y curador del pabellón brasileño en la 58a Bienal de Venecia (2019). Fue curador de arte latinoamericano en el Blanton Museum of Art de la University of Texas at Austin de 2002 a 2008, y director de artes visuales en la Americas Society, Nueva York. En 2007 fue curador en jefe de la 6ª Bienal del Mercosur en Porto Alegre, Brasil. Tiene un doctorado en historia y teoría del arte de la University of Essex y ha publicado y dado conferencias sobre arte moderno y contemporáneo de América Latina. También es miembro de la Esthetical Society for Transcendental and Applied Realization.

Staff

Inés Katzenstein, Director
María del Carmen Carrión, Project Manager