Curator of Contemporary Art
Since joining the Cleveland Museum of Art in 2017, Emily Liebert has curated Raúl de Nieves: Fina (2019) and co-curated Kerry James Marshall: Works on Paper (2018) with Reto Thüring. She is organizing the museum’s first site-specific commission in the Ames Family Atrium, Emeka Ogboh’s Ámà: The Gathering Place (2019), in collaboration with Smooth Nzewi, the CMA’s curator of African art. Her recent acquisitions include Emma Amos’s Sandy and Her Husband (1973) and Jenny Holzer’s Laments: Death Came and He Looked Like . . . (1989).
Before her appointment at the CMA, Liebert worked at the Museum of Modern Art (MoMA) as curatorial assistant for the major retrospective Robert Rauschenberg: Among Friends (2017). Liebert’s essay for the catalogue, “‘Looking Also Had to Happen in Time’: The Printed Trace,” explores the connections between Rauschenberg’s work in dance, photography, and printmaking. Related to this essay, she organized a dance program highlighting Rauschenberg’s collaborations with choreographers Trisha Brown, Merce Cunningham, and Paul Taylor.
Prior to joining MoMA, Liebert curated Multiple Occupancy: Eleanor Antin’s “Selves” (2013), which opened at Columbia University’s Wallach Art Gallery and traveled to the Institute of Contemporary Art/Boston. This exhibition was a finalist for an award by the International Association of Art Critics in the category “Best Monographic Museum Show in New York.” The catalogue for Multiple Occupancy, edited by Liebert, comprises new scholarship on Antin, with contributors including Huey Copeland, Malik Gaines, and Alexandro Segade. From 2003 to 2005, Liebert served as coordinator for education and public affairs at the Chinati Foundation in Marfa, Texas.
Liebert holds a BA from Yale University and a PhD from Columbia University, and she was a Critical Studies Fellow in the Whitney Independent Study Program. At Columbia, Liebert taught in the Department of Art History and at its School of the Arts, where she also curated the MFA First Year Exhibition in 2017. Liebert’s art criticism has appeared in Artforum and Frieze.