Kaitlin Booher is assistant curator of Photography and Media Arts at the Corcoran Gallery of Art. She formerly served as the Gallery's curatorial assistant for contemporary art and photography and, prior to that, as the Sharon Keim Intern for Photography and Media Arts. Before arriving in Washington in 2009, Booher worked at Phillips de Pury & Co. and held internships at Art in America and Stephen Haller Gallery. She graduated with a BA in art history and psychology from New York University.
At the Corcoran, Booher organized the collection exhibitions Richard Gordon: Meta Photographs and Framed: Street Photographs from the Collection, both in 2010. She also assisted with the organization of the major exhibitions and catalogs Helios: Eadweard Muybridge in a Time of Change (2010), curated by Philip Brookman, and Edward Burtynsky: Oil (2009-10), curated by Paul Roth. More recently, she assisted with the organization of Tim Hetherington: Sleeping Soldiers (2012); Hank Willis Thomas: Strange Fruit (2011); Mads Gamdrup: Renunciation (2011); Chris Martin: Painting Big (2011); and Spencer Finch: My Business with the Cloud (2010).
Philip Brookman is chief curator and head of research at the Corcoran Gallery of Art. He has organized and collaborated on major exhibitions for other museums, including the Tate Modern, London; the National Gallery of Art, Washington; and The Museum of Fine Arts, Houston. He was previously senior curator of Photography and Media Arts at the Corcoran and has held curatorial positions at Washington Project for the Arts; El Centro Cultural de la Raza, San Diego; and the University of California, Santa Cruz. He is also a photographer, filmmaker, writer, and editor. He earned BA degrees in 20th-Century Art History and Fine Arts from the University of California, Santa Cruz.
Mr. Brookman’s 2010 retrospective exhibition and book, Helios: Eadweard Muybridge in a Time of Change, traveled to Tate Britain, London; and the San Francisco Museum of Modern Art. His other recent projects include Maya Lin: Systematic Landscapes; Leo Rubinfien: Wounded Cities; Modernism: Designing a New World; Sally Mann: What Remains; Common Ground: Discovering Community in 150 Years of Art; and Robert Frank: London/Wales for the Corcoran Gallery of Art; and Robert Frank: Storylines for the Tate Modern and Museu d'Art Contemporani de Barcelona. He was also co-curator of the exhibitions and co-editor of the books Robert Frank: Moving Out for the National Gallery of Art, Washington, and Robert Frank: New York to Nova Scotia for the Museum of Fine Arts, Houston. Other projects for the Corcoran include the exhibitions, books, and web sites Emmet Gowin: Changing the Earth; Media/Metaphor: The 46th Biennial Exhibition; Half Past Autumn: The Art of Gordon Parks; Raised by Wolves: Photographs and Documents by Jim Goldberg; Hospice: A Photographic Inquiry; The Way Home: Ending Homelessness in America; and Arnold Newman: Breaking Ground.
Sarah Cash has been the Corcoran’s Bechhoefer Curator of American Art since 1998. During her tenure, she has organized the loan exhibitions Sargent and the Sea (traveled 2009–10), for which she edited and co-authored the accompanying scholarly catalogue; Encouraging American Genius: Master Paintings from the Corcoran Gallery of Art (traveled 2005–07); Norman Rockwell’s Four Freedoms: Paintings that Inspired a Nation (2004); and Albert Bierstadt’s California Scenery, Sunset View (2003). She edited and co-authored the first scholarly catalogue of the Corcoran’s collection of American paintings in more than forty years, Corcoran Gallery of Art: American Paintings to 1945, published in February 2011 in both a book and an on-line component. Choice: Current Reviews for Academic Libraries called it “the most important museum-generated publication of the last 20 years or more.” She has authored and co-authored several other Corcoran permanent collection publications, including A Capital Collection: Masterworks from the Corcoran Gallery of Art (2002) and American Treasures of the Corcoran Gallery of Art (2000).
Prior to arriving at the Corcoran, Ms. Cash served as Director of the Maier Museum of Art at Randolph-Macon Woman’s College (1995–1998) and Assistant Curator at the Amon Carter Museum in Fort Worth, Texas (1990–1995). She has also held positions at the National Gallery of Art, the Yale University Art Gallery, and the National Portrait Gallery. Among Ms. Cash’s exhibitions prior to arriving at the Corcoran were the Amon Carter traveling shows Ominous Hush: The Thunderstorm Paintings of Martin Johnson Heade (1994) and Thomas Eakins and the Swimming Picture (1996). Her publications include the exhibition catalogues for these two exhibitions as well as American Art: Paintings from the Amon Carter Museum (1992) and American Naïve Paintings (1991; volume 12 of the National Gallery of Art’s Systematic Catalogue, contributing author).
Ms. Cash received her BA in Art History from Smith College and an MA from the Williams College Graduate Program in the History of Art. Additionally, she is a graduate of the Museum Management Institute in Berkeley, California, a program of the J. Paul Getty Trust.
Lauren Schell Dickens
Lauren Schell Dickens is assistant curator of contemporary art at the Corcoran. A recent arrival in Washington, Ms. Dickens previously managed Robert Koch Gallery in San Francisco, worked as the Neubauer Family Foundation Curatorial Assistant at the Jewish Museum in New York, and held curatorial posts at the Guggenheim Museum and Dallas Museum of Art. At the Jewish Museum, she organized The Danube Exodus: The Rippling Currents of the River Peter by Peter Forgacs and the Labyrinth Project (2009) and assisted with Alias Man Ray: The Art of Reinvention (2009-10), which received the Best Monographic Museum Show award from the U.S. section of the International Association of Art Critics. Ms. Dickens contributed to the exhibition catalog for Alias Man Ray (2009) and the institutional history Dallas Museum of Art, 100 Years (2003). She has independently curated exhibitions in New York and Oakland, California. Ms. Dickens holds a BA in American Studies from Yale University and an MA in Modern Art: Critical Studies from Columbia University.
Dare Myers Hartwell
As head of conservation for the Corcoran Gallery of Art, Dare Hartwell supervises the conservation needs of the collection and undertakes the treatment of paintings. Ms. Hartwell researched and planned all aspects of the restoration of the Salon Doré, the Corcoran’s 18th-century French period room, which includes gilded boiserie, decorative objects, and a ceiling mural by Hugues Taraval. She also supervised the technical examination of paintings featured in the catalogue Corcoran Gallery of Art: American Paintings to 1945.
In addition to conservation in general, Ms. Hartwell’s areas of expertise include French period rooms, gilding, and Albert Bierstadt’s paintings. She has lectured and authored several publications on the Salon Doré and Bierstadt.
Ms. Hartwell holds a MA in Art History from the University of Minnesota and a BA, also in Art History, from The George Washington University. She received her conservation training as an apprentice at the Minneapolis Institute of Arts and at the Institut Royal du Patrimoine Artistique [Koninlijk Instituut voor het Kunstpatrimonium] in Brussels, Belgium.
Sarah Newman is curator of contemporary art at the Corcoran. Since joining the institution in 2006, Dr. Newman has curated the NOW at the Corcoran exhibitions Spencer Finch: My Business with the Cloud and Chris Martin: Painting Big, as well as Washington Color and Light: Works from the Corcoran Gallery of Art; Elena del Rivero: Home Suite; The American Evolution: A History through Art; and Looking for the “There There”: California Art from the Collection, 1950-2000. She has taught contemporary art history at the Corcoran and George Mason University, has published on the relationship between painting and film, and is co-author (with Philip Brookman and Paul Greenhalgh) of the book Essential Modernism. Dr. Newman is currently working on a major exhibition of contemporary British art entitled Vile Bodies: Modern and Contemporary Art from Britain. She holds a BA from Williams College and both an MA and PhD from the University of California, Berkeley.
Paul Roth is senior curator and director, photography and media arts, at the Corcoran Gallery of Art. This is his second stop at the Corcoran, where he helped organize more than 50 exhibitions as a curator between 1995 and 2009. Mr. Roth returns to the Corcoran from the Richard Avedon Foundation in New York, where he was executive director 2010-11. His experience also includes stays at the National Gallery of Art in Washington, where he organized the Robert Frank Archive (1991-94); and at the Center for Creative Photography in Tucson, Arizona (1986-91).
Mr. Roth's recent exhibitions for the Corcoran include American Falls: Phil Solomon (2010), Edward Burtynsky: Oil (2009), Richard Avedon: Portraits of Power (2008), and Sally Mann: What Remains (2004). Portraits of Power was nominated for the 2009 Lucie Award for Exhibition/Curator of the Year, and Roth's exhibition catalogue for Edward Burtynsky: Oil received the 2010 Kraszna-Krausz Award and the 2011 Deutscher Fotobuchpreis Silver Award for excellence in photo book publishing. In 2005, Roth received a Getty Foundation Curatorial Research Fellowship; in 1989, he was Ansel Adams Fellow at the Center for Creative Photography.
He has organized film series for the National Gallery of Art Film Program, including the retrospectives Phil Solomon: Rhapsodies in Silver (2010); Metric and Metaphoric: The Films of Peter Kubelka (2005); I…Dreaming: The Visionary Cinema of Stan Brakhage (2002); and The Films of Gordon Parks (1997).
Mr. Roth has also been a teacher at the Corcoran College of Art and Design and at St. Mary’s College of Maryland. He has lectured widely and written extensively on photography and film for The Nation, The Washington Post, Katalog, and Photo Review, among other publications.