Linda Norden is a curator, writer, and part-time professor of art history, theory, and criticism currently teaching for the B.F.A. and M.F.A. programs at Cornell University, and in Cornell’s Architecture, Art and Planning Program in NYC. She continues to teach occasionally for the B.F.A. and M.F.A. programs at the Malmo Art Academy in Malmo, Sweden, and has spent the better part of the past decade teaching in the M.F.A. programs of Columbia University, Yale University, and Hunter College, before signing onto Cornell.

Norden served as the first curator of contemporary art at Harvard University's Fogg Art Museum between 1998 and 2006; directed the City University of New York's Graduate Center Gallery (The James Gallery) from 2008–10; and taught art history and methodology at Bard College, beginning in 1992, and then at Bard’s Center for Curatorial Studies, between 1994 and 1998, for which she participated in much of the early stage planning. She served as commissioner of the U.S. Pavilion for the 2005 Venice Biennale, where she organized Ed Ruscha's project, “Course of Empire,” with Donna DeSalvo. She has written about many contemporary artists for Artforum and for various catalogs and publications, including an essay for Aram Moshayedi’s 2018 “Stories of Almost Everyone.” Recent writings include the online publication of a lecture on the artist John Wesley, for the Chinati Foundation and a long essay in progress on the evolving project of the collaborative artists Lizzie Fitch and Ryan Trecartin, who purchased a farm in their home state of Ohio on the eve of our last Presidential election, in 2016, and whose current work responds to that place, and this moment, from their mid-country vantage. She is in L.A. this week to install a new show she’s curated of the experimental film work of Peggy Ahwesh, which will open at JOAN Los Angeles on October 10, 2020.

Aram Moshayedi is a writer and the Robert Soros Curator at the Hammer Museum in Los Angeles, where he most recently co-organized (with Connie Butler) the exhibition and publication Paul McCarthy: Head Space, Drawings 1963–2019. Other exhibitions include Stories of Almost Everyone; Made in L.A. 2016: a, the, though, only (with Hamza Walker); and All the Instruments Agree: An Exhibition or a Concert. Since joining the Hammer in 2013, he has curated projects by artists Lawrence Abu Hamdan, Marwa Arsanios, Andrea Bowers, Andrea Büttner, Simon Denny, Mario Garcia Torres, Shadi Habib Allah, Maria Hassabi, Jasmina Metwaly, Oliver Payne and Keiichi Tanaami, and Avery Singer. He was formerly associate curator at the Roy and Edna Disney/CalArts Theater (REDCAT), where he organized exhibitions and oversaw the production of new works by Tony Cokes, Geoffrey Farmer, Erlea Maneros Zabala, The Otolith Group, Slavs and Tatars, Jordan Wolfson, and Ming Wong. He has contributed to numerous exhibition catalogues as well as Artforum, Art in America, BOMB Magazine, Frieze, Metropolis M, Parkett, X-TRA Contemporary Art Quarterly, and Bidoun, for which he is a contributing editor.

Photo credit: Installation view, "Stories of Almost Everyone" at Hammer Museum, Los Angeles, 2018.
Photos: Joshua White

The Graduate Art Seminar is a forum for graduate students and members of the ArtCenter community to enter into dialog with internationally recognized artists, critics, and art historians. The Seminar is a core component of ArtCenter's Graduate Art program. The Seminar is also free and open to the public.

ArtCenter's Graduate Art program is based on intensive studio practice and rigorous academic coursework. The program is distinguished by its low faculty-to-student ratio that provides students with the attention and feedback they need to refine and achieve their artistic goals. Faculty and students are artists working in all genres—film, video, photography, painting, sculpture, performance and installation. A significant number of alumni have achieved national and international acclaim and often return to share their insights and expertise as visiting faculty and guest lecturers.