2018, Medieval Monsters: Terrors, Aliens, Wonders, with Sherry M. Lindquist
The Morgan Library and Museum, New York (June 8 to September 23, 2018)
The Cleveland Museum of Art (July 7 to October 13, 2019)
The Blanton Museum of Art, Austin (October 27, to January 12, 2020)
The New York Times: “This exhibition reminds us that the ruling members of society usually determine what’s normal and acceptable. We may not have drawings of monsters on our maps anymore, but perhaps that’s because we don’t need to. Those in power still have plenty of ways of portraying others as subhuman.”
The Art Newspaper: Listed as one of Three exhibitions to see in New York this weekend. “Around 70 medieval works, mainly manuscripts, are gorgeous and fascinating as objects, but are also enlivened (and made relatable) by the accompanying texts.”
Hyperallergic: “[T]he current exhibition at New York’s Morgan Library & Museum, while it features centuries-old manuscripts, feels timely. Medieval Monsters … is not just an exhibition of strange bestiaries and unicorns (although there are plenty of those); it is a thorough examination of how monsters were employed as propaganda in the Middle Ages.”
Forward: “The exhibit’s great achievement is to avoid this trap by showing how subtle and multifaceted the medieval understanding of monsters could be.”
Artsy: “What the exhibition at the Morgan Library & Museum suggests is that … our view of monsters was never black-and-white in the first place: Our hatred was always bound up in awe and envy and self-hatred and kinship. In this way, studying medieval images of monsters can be bittersweet: The only thing as strong as our capacity to marvel at the unknown, the record shows, is our capacity to hate it.”
City Guide: An “insightful exhibition … Curators of Medieval Monsters found upon inspection that the monsters depicted often highlighted marginalized figures in society, including women, children, the poor, and racial minorities.”
Financial Times: “A delightfully gruesome exhibition … The show digs into the tenderness and murderous rage with which we confront the products of own imaginations.”
The Economist: “These images inspire awe and a keen respect for medieval artists’ use of colour, but it is the undertones of racial and gendered prejudice that make the exhibition more than a spooky show and tell.”
The Book Collector: “A wondrous and fructuous subject … spectacularly gruesome.”
Haber’s Art Reviews: “It makes for a great story. It brings together some of the Morgan’s finest holdings with some surprises.”
The New York Review of Books: “[R]ather than amassing case after case of … grotesques, the Morgan curators opt for diversity and range. Demons and serpents from Biblical lore, or saints like Firmin who defy the limits of the body, express with their pre-Christian forerunners a fascination with transgressions of both nature and culture.”
The Epoch Times: “While the exhibition focuses on Europe, it can also elicit curiosity about monsters from elsewhere. As innately universal and timeless subjects, monsters appear in every civilization across the world. They never go out of style because of our human need to make sense of terrifying unknowns and to represent forces that we are unable to see but that we can imagine.”
Rated Exhibit of the Week, The Week Magazine.
Rated by Medieval Art Research as one of “10 Must-See Temporary Exhibitions this Summer,” from through the world.
Noted in Apollo: The International Art Magazine.
2015, Co-Curator, Enigma: Code, Narrative, Symbol, Janet Turner Print Museum, CSU Chico, with students of ARTH500: Theories and Methods of Art History
2013, Co-Curator, Unsettled Dreams: Monsters in Print, Janet Turner Print Museum, CSU Chico, with students of ARTH400: Monsters and the Monstrous