Presented by Seth Feman, deputy director for art and interpretation and curator of photography, Chrysler Museum of Art, and Jonathan Frederick Walz, director of curatorial affairs and curator of American art, The Columbus Museum 

Join Alma W. Thomas: Everything Is Beautiful co-curators Seth Feman and Jonathan Frederick Walz to learn more about the exhibition and how Thomas’s artistic practices extended to every facet of her life. Drawing from their essays in the accompanying catalogue as well as from the exhibition, Walz will present on Thomas’s marionettes and Feman will share more about Thomas’s teaching practice. This one-hour program will be presented on Zoom. 


About the presenters

Seth Feman is the deputy director for art and interpretation and curator of photography at the Chrysler Museum of Art in Norfolk, Virginia. His exhibitions and essays on American art and photography examine how qualities of affect, mobility, and vision become embedded in museum spaces, the built environment, the language of the media, and specific works of art. His scholarship has received support from the Smithsonian American Art Museum, the Getty Foundation, the Terra Foundation for American Art, the Henry Luce Foundation, and the National Endowment for the Arts.

At the Chrysler, he oversees the curatorial, education, and registration departments to develop dynamic exhibitions and engaging public programming. Feman has taught at the College of William and Mary and Lewis and Clark College and has worked as an educator at the Smithsonian American Art Museum. He received his BA in art history from Vassar College and his MA and PhD in American studies from the College of William and Mary.

Head shot of Seth Feman with arms crossed in a dark jacket with white shirt

An expert on American modernism, Jonathan Frederick Walz received an MA and a PhD—both in art history—from the University of Maryland, College Park. His dissertation analyzed the transatlantic modernist avant-garde and their use of alternative portrayal strategies during the 1910s and 1920s. He spent the 2009–10 academic year at the David C. Driskell Center as one of six graduate student curators for the exhibition Embodied: Black Identities in American Art from the Yale University Art Gallery, which appeared at the Driskell Center and Yale University Art Gallery and was reviewed in the New York Times.

He has published essays and given lectures on a range of topics, from Charles Demuth and Alma W. Thomas to conceptual portraiture and queer rurality. As a proponent of object-based study and public history, Walz has over twenty-five years of experience in art museums, including more than a decade of service at the National Gallery of Art, Washington. In 2016, he was appointed the director of curatorial affairs and curator of American art at The Columbus Museum in Columbus, Georgia, Alma Thomas’s hometown. Walz has begun researching for a future exhibition and catalogue, From George Catlin to David Hockney: Deaf Artists in the United States, 1788–1988.

Jonathan Frederick Walz is standing to the right side of the image with arms crossed with a painting in the background showing skyscrapers in a city.
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