Patti Smith: Wing

Patti Smith: Wing

Dust Specks on the Sea: Contemporary Sculpture from the French Caribbean & Haiti

Dust Specks on the Sea: Contemporary Sculpture from the French Caribbean & Haiti

Will Brown: Ether

Will Brown: Ether

Martin Machado: Fluid State

Martin Machado: Fluid State

Bill Fontana: Landscape Sculpture with Foghorns

Bill Fontana: Landscape Sculpture with Foghorns

Mariana Castillo Deball: Feathered Changes, Serpant Disappearances

Mariana Castillo Deball: Feathered Changes, Serpant Disappearances

Jill Magid: The Proposal

Jill Magid: The Proposal

“You know how it usually goes when museums survey the contemporary art of non-Western regions; they focus on a few zones already on the radar of a multinational’s chief development officer, like “the Middle East” or “Latin America” or even the 4.5-billion-strong region of “Asia,” and flatten them into inconsequence. It’s much rarer to see shows with a real local focus on places beyond the executive suite’s gaze, like this small but very welcome exhibition of nearly two dozen artists from the Francophone Caribbean, at Hunter College’s outpost in East Harlem.”

Jason Farago, New York Times, February 20, 2019

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"‘I’m very talismanic,” Smith said. ‘But it’s idiosyncratic.’ Much of Smith’s work reflects her deep reverence for ordinary objects and the poetry they contain. ‘When I’m working, what’s in my close proximity might be random, or it might be chosen. They might be of no particular calculable value, but they’re infinitely precious. They contain something of the owner. I find something beautiful about that.’”

Amanda Petrusich, The New Yorker, January 17, 2019

“The quiet elimination of curatorial jobs is a troubling manifestation of a Bay Area arts ecosystem that struggles to find stability despite a booming local economy. Institutions ‘restructure,’ ‘return to their core missions’ and ‘redefine their priorities’ in attempts to both clarify their role within a competitive field of development dollars and audience attention and pare down budgets.”

Sarah Hotchkiss, KQED, September 20, 2018

Fluid State inspires viewers to think about the “invisible industry” that transports 90 percent of the world’s goods by sea. ‘People assume it all happens naturally, or automatically,’ he said, pointing to a detailed black-ink portrait of a fellow hard-hatted crew member standing on the deck of a ship. ‘But there are real people’s lives behind everything. Without them, globalization is just an idea.’

Jessica Zack, San Francisco Chronicle, June 6, 2018

‘You’ll hear a bird from 1981 and a bird from 2018,’ says Morgan, who appreciates the play of time and distance in this atmospheric work. ‘Some people will come seeking this out, some people will stumble upon it, and some will walk by and never know it’s here.’

Jesse Hamlin, San Francisco Chronicle, January 15, 2018


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Katie Hood Morgan is a curator, writer, and cultural producer based in San Francisco, CA.

Her creative interests center on multi-faceted, multidisciplinary artist-driven projects and community-building. She is currently Program Director of the FOR-SITE Foundation in San Francisco. Established in 2003, FOR-SITE is dedicated to the creation, understanding, and presentation of art about place. Recent projects include: Ai Weiwei: Yours Truly, a feature-length documentary inspired by FOR-SITE’s 2014-15 exhibition @Large: Ai Weiwei on Alcatraz; and the ambitious group exhibition Sanctuary, which addressed the notion of sanctuary—both physical and psychological—and it’s role in shaping a sense of selfhood and social identity across geopolitical borders.

In her previous role as Curator of Exhibitions and Public Programs at SFAI, she managed all curatorial operations and programming for SFAI's galleries, including the first year of programming at SFAI's new Fort Mason campus. She organized over a dozen major exhibitions with SFAI, several of which were accompanied by catalogs. Recent highlights include solo projects by Will Brown, Bill Fontana, Mariana Castillo Deball, Doug Hall, and Jill Magid, as well as the group exhibition ENERGY THAT IS ALL AROUND: Mission School: Chris Johanson, Margaret Kilgallen, Alicia McCarthy, Barry McGee, Ruby Neri (2013). Additionally, in this role Katie oversaw SFAI’s Visiting Artists and Scholars lecture series, hosting dozens of international artists and creative leaders including: Ron Nagle, Mike Henderson, Lucy Lippard, Marc-Olivier Wahler, Simone Lee, Geoffrey Farmer, Gala Porras-Kim, and Dara Birnbaum.

Prior to her work with SFAI, Katie served as Assistant Curator at the CCA Wattis Institute for Contemporary Arts where she organized the 82-artist group exhibition When Attitudes Became Form Become Attitudes (2012), also contributing to the exhibition catalog. The exhibition included several new commissions and travelled to the Museum of Contemporary Art Detroit.

Katie was Director of the artist-run Adobe Books Backroom Gallery in San Francisco from 2009-2012, where she curated exhibitions by Parker Ito, David Horvitz, Colter Jacobsen, and Zina Al-Shukri, among others. She was Registrar and Gallery Assistant at Braunstein/Quay Gallery from 2006-2008.

Katie holds a MA in Curatorial Practice from California College of the Arts, San Francisco, and a BFA in the History of Art and Visual Culture from UC Santa Cruz. She has contributed to programming and curatorial projects at a variety of institutions including the Oakland Museum of California, the M. H. de Young Museum, SFMOMA, and the Massachusetts Museum of Contemporary Art.

Download CV.