The First Art Newspaper on the Net   Established in 1996 United States Sunday, August 18, 2019


Public Art Fund continues ambitious growth
Daniel S. Palmer. Photo: Nicholas Knight, Courtesy Public Art Fund, NY.


NEW YORK, NY.- Public Art Fund announced two promotions: Kellie Honeycutt has been appointed to the new role of Deputy Director and Daniel S. Palmer to Curator. As Deputy Director, Honeycutt will advance Public Art Fund’s strategic vision and further its impact and visibility, overseeing fundraising, communications, marketing, and administration. Having curated seven major exhibitions since joining Public Art Fund in 2016, Palmer will continue to work with Director & Chief Curator, Nicholas Baume to develop an innovative and compelling exhibition program that emphasizes engagement with a broad and varied public.

With Baume at the helm of Public Art Fund since September 2009, the organization has significantly expanded its programming, budget, staff, and board. The number of annual exhibitions has doubled, while the organization budget and staff have more than tripled. This ambitious approach is the result of strategic planning and vision for exhibitions and programming that offer an international roster of artists the resources and expertise of an organization that has shaped New York City’s public spaces for more than 40 years. These have included major exhibitions that respond to our current moment with artists like Ai Weiwei, Yinka Shonibare, and Pope.L (opening in the fall); commissions with more emerging artists like Liz Glynn, Alicja Kwade, and Elle Perez (opening in August), important presentations of historic works with artists like Felix Gonzalez-Torres, Siah Armajani, and Isa Genzken, and highly interactive projects by artists including Tauba Auerbach, Erwin Wurm, and Tatzu Nishi.

“Public art now is inherent to the fabric of our city, whether monumental installations in our great public parks, plazas, and buildings, or more subtle interventions in neighborhood spaces. By its very nature – democratic, free, and open to all – it is the embodiment of our city’s values,” says Nicholas Baume, Director & Chief Curator of Public Art Fund. “A key aspect of Public Art Fund culture is to nurture creative talent, and that includes our own extraordinary team. Both Kellie and Daniel are outstanding professionals, leaders in our field, and wonderful colleagues. As we continue to embrace new opportunities to fulfill our mission, I’m excited to further our collaboration in their new roles.”

As Deputy Director, Kellie Honeycutt will lead all aspects of Public Art Fund’s communications, development, and administration. She is responsible for advancing the organization’s mission and strategic vision, as well as its impact and visibility through marketing, publicity, digital media, audience development and engagement, fundraising, special events, finance, and administration. In her previous role as Director of Institutional Advancement, she led highly successful fundraising and communications campaigns for all Public Art Fund projects, including Ai Weiwei's internationally-acclaimed 300+ work, New York City-wide exhibition Good Fences Make Good Neighbors that addressed the social and political impulses to divide people from one another. Prior to joining Public Art Fund in 2010, Honeycutt was a Senior Account Executive at Blue Medium—a public relations and marketing firm specializing in art and architecture—where her international roster of clients included Judd Foundation, Japan Society, Sperone Westwater Gallery, Lehmann Maupin Gallery, Steven Holl Architects, Prospect New Orleans, the Reykjavik Arts Festival, and the United States Pavilion at the 2009 Venice Biennale featuring Bruce Nauman and presented by the Philadelphia Museum of Art, among others.

Daniel S. Palmer’s appointment as Curator recognizes the work he has done since joining Public Art Fund as Associate Curator in 2016. Over the past three years he has organized exhibitions including: Carmen Herrera: Estructuras Monumentales (2019), Harold Ancart: Subliminal Standard (2019), Tony Oursler: Tear of the Cloud (2018), B. Wurtz: Kitchen Trees (2018), Erwin Wurm: Hot Dog Bus (2018), Liz Glynn: Open House (2017), and co-curated Commercial Break (2017), an exhibition of digital video and photography by 23 artists exhibited on advertising screens in all five boroughs. Palmer also assisted Public Art Fund Director and Chief Curator Nicholas Baume on Ai Weiwei's citywide exhibition Good Fences Make Good Neighbors (2017), a 300+ work exhibition that responded to the global migration crisis.

Previously, as the Leon Levy Assistant Curator at the Jewish Museum, New York, Palmer assisted Esther Da Costa Meyer on Pierre Chareau: Modern Architecture and Design (2016), co-curated exhibitions including Unorthodox (2015) and Repetition and Difference (2015), and curated Masterpieces & Curiosities: Diane Arbus's Jewish Giant (2014). Independently, Palmer has curated exhibitions including Scarlet Street at Lucien Terras, New York (2016), Lucas Samaras Pastels at Craig F. Starr Gallery, New York (2013), and co-curated Decenter: An Exhibition on the Centenary of the 1913 Armory Show with Andrianna Campbell at Henry Street Settlement's Abrons Arts Center (2013).

He is a contributor to numerous exhibition catalogues and publications, including The Whitney Museum of American Art's Hopper Drawing (2013), an exhibition for which he also conducted research; the Kunstmuseum Bonn's New York Painting (2015); as well as numerous media outlets including ARTnews, Mousse, Kaleidoscope, the Exhibitionist, L'Architecture d'Aujourd'hui, The Brooklyn Rail, and Guernica, among others.





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