In this episode of PhotoWork with Sasha Wolf, Sasha and Gregory Harris, Associate Curator of Photography at the High Museum of Art in Atlanta, discuss the collaborative and intricate processes of crafting a museum exhibition and the steps involved when museums acquire new work for their collection. Sasha also asks Greg if art dealers, like herself, are a nuisance, with their endless attempts to sell curators work.
https://high.org/person/gregory-harris/
Gregory Harris is the High Museum of Art’s Associate Curator of Photography. He is a specialist in documentary photography best known for his work with emerging artists. Harris was previously the Associate Curator at the DePaul Art Museum in Chicago, where he curated exhibitions including Sonja Thomsen: Glowing Wavelengths in Between (2015), The Sochi Project: An Atlas of War and Tourism in the Caucasus (2014), and Studio Malick: Portraits from Mali (2012). He also organized and authored catalogues for the exhibitions We Shall: Photographs by Paul D’Amato (2013), Matt Siber: Idol Structures (2015), and Liminal Infrastructure (2015).
Harris also held curatorial positions at the Art Institute of Chicago, where he organized the exhibitions In the Vernacular (2010) and Of National Interest (2008). His essay “Photographs Still and Unfolding” was published in Telling Tales: Contemporary Narrative Photography (McNay Art Museum, San Antonio, 2016). Harris also wrote the introduction for Black Is the Day, Black Is the Night (2016), by Los Angeles–based photographer Amy Elkins, which was shortlisted for the Aperture First Photobook Prize.
Harris is a founding editor of the photobook press Skylark Editions and serves on the Board of Directors for LATITUDE, a community digital lab in Chicago. He earned a BFA in photography from Columbia College Chicago and an MA in art history from the School of the Art Institute of Chicago.
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